Zundel Metodo Per Organo.pdf

D S O.gs

BIt:

FOR

BTB OB

I THE

lln lDaprovenaent upon all other Instruction Books, in Progressive Arrangement, Adaptation and Sinaplicity. Founded upon a New and OriginaI PIan, and IDustrated by a Series of

PLATES SHOW;NG TME PROPER POSITION OF THE HAN[»S AND FINGERS.

TG WBI()H ARE ADDED TRE RUDIltIENTS OF HARMONY AN» TIiOROUGII BASSI ID 't! 4'JA'fOO!~J

ffiU~OOJ\ruID~®W~

TRE A UTlIOR'S FREFACE.

or

SINCE thc pnblicatiO!l the MODERN SCROOL, I h~ve !onsultcd mnny cmincnt composcrs nnd profcssors, in relntion to itg pIan or systen. While bestowing preisa on it as n wholc, thcy haye invarinbly disapprovcd the diffieult progrcssions, and thc eomplcxity of many importunt features, n Iueid treatment of ,vhich in a coursc of Piano-forte instrt""'~:"''''' : .......... :.....ll ... w:::"' .... "',:'h l ... .,,, .. h .. cm ..a ",,,,,il ,-on;(1 n(lvonl'"~TTlPnt ('\f til,.. nnnil . 1kcoming at Iength satisfied of :-' ,. ht b~ mnde, and were obviotlsly oocded, I n tho couutr:.-, I commenced a thor:>tI~h nnd determined, if p"ssibIe, to rcmedy the dcf, criticaI examination of m)' first Method, : : on an impfo vcd pian, whieh I now offor lo thc public, confident that it will be found 'TaCC<; tne 11rinciples of all other Piano-forto ceiyed, "nel tend to giye thc NEW METIIOD a instrnetion books, :md at the same time m wide popuIarity. Mozart, I-Icll er, Drcpch ock, Mendclssohn, Specimens of the eompositions of Thalberg and others aro interspersed, by 1 ne dcgree imb:be thc style~ of thosc cminent 10r.· rnasters, instead of confining himself, as i, I hnvCl endeavored to tako tho st: the fir~t rndiments of mllsic, IO the highest restin;; pieees, whkh nre so oftcn usc1cssly departme-at of the art of Pi:.mo-forto plnJ lSt the pnpil and makc practicc a sonrcc of employcd to enlargo and fili tlp a book. pleasure, instcnd of discourag ing him wil $C on thc subjcet by L_ KOll LEP., one of thc The plates ilIustmting the variolu highogt anthoritics arnong the modern prc At tho conclusion of tho ?(ork, n cl purtmcnt of music mucb neglcctcd, ulthough 1 :1~2 te:tch in ~ thc Piano ~ profcssion. Thp. of the Rtmost importance to every one examples, exerci51es and explanations her< ~n: 'l'ie pupil wilI linci un introduc:ion to th~ works of the great masters much Iess diffi

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SIBLEY

MUSICAL LIBRARY

r in Excellence lQ all OthC1' "J1étllO~" a Acqnil'tm.ent of et Tl107'ntgli. lle Rlldimcntc:.l Studies !

This LAST AND BEST WOR. "SystewtS," and "SCIIOOls," a Knowledge of Pian~

PRESENTED BY

Library of Congress

The following are selectcd from the . opinions migh

h" th'l Puhli shers. ndmimble work,

;SO>i'~ ~cn' M~tho:l for the Pin.llo·forto wm prob2.bly cw::-y \Itucr work 01' thc kind no\v 1n u~.-The l)aUy

It i. In thl. part or the work (IIve-flnger "nd.o that the heart or the whole matter li•• , and Mr. has done wisel! to ln.y out his ehief foree in this. bepossiblc, we thlnk, to find n. coursc of exercise ~l'3dUa.tell. A matter of erzu:ll cO!lscquence. R...';; the education of a tnle musical fge liog and tMt~ u thc pclection of &ctual pieces of music. or m u as f\ live thing of bea.uty. with a. souI in it, and:

(\.;;,t('r.

book ~ fO l' fupils learnin~ thc piano Hcrnld . Montn·,,:'\.I. C. E. t.hcl1!1::lnd works for th(l f:Ji:tuc . i t i" h:Lrd i~h't' ly ,, !l ic!J iii th(! hes~ > hc:."au!"e cwry work po~es ­ Icculia r aud l'trik4nrr exC'cllen("c; but, among :1.11 that ('C D. RI CIf.H.nso x·s Nl!W :'IIcthotl holds 3. conspicuous hc grounù at" wlid ac.d {'nùui"ing merit.-Tbe t: i tj'

;!lC

RlCU.lRDSON'

I I

hdclpb ia.

.e.ms to hav. mlnJ;lcd th,

te.dium.-Musical \Vorid. New York. A Mcthod is not for artista, but (or befZinncrl' who want to become artists j ::Lnd as ltIr. RICR.\.RDSO!{ ' ~NeW' Methodan!oiwcrs tbis purpo~6. it is the rightODo, and d(>ger'Vcs our hearty rccom· mend:ltion.-~tu si cal Re'flew, Ne'W York. This work cannot rodI to in surv a most satisfactory progress

In th. "rt vr play,ng the piano-forte, Ir n,ed with Intell!gcnce and p=ti.<ed wltb. dlligence; ..nd Itl. 8u/llcient to ssy, that it seeDiS to me to oombine eVf1rything' or l'alue R!'t8. Mcthod~ in tbc prcseut

advane~men~

of pil'Lno playing, hcretoforo sca.ttered nmong a. d01.en or more Methods of differeot anthot'S, and it

must .peedily supc",ed. ali other Methods now in HSe.-A_ T.

I

I

l l

~

THORUP~

Te:tcher of Music, New Bedferd t Mass. I conoider it tho high est perfection of ..nything in the shspo un Iastruction DooIc for tbe Piano, being 3. complete guide for thoRe desirous to bccome acoompllshed performers.-J. DELL.\K, Toncbcr of MUilc, Pbiladelphia. ~f

I h.ve no hesitation In ...yin,;, that Cor in. trnction on

we

pla.ne no work of equal merit has ever come before the public. ~C .

H.

L OE1\R,

T""cher or Muslc, Rogersvme, Tonn.

Il

nncr:::, ;t,od in fad tho'ic ",ho 11'1"I"c t:lkc:l Ic!-""on~. wc ,cl t.he purch::t.::::c of H.iCfl.I.RI:!, QX·::' Nc\'7 ~I(:thod (<':1' ·fort(>. a. book " .. ilkh Lo:: nn hnpr n~Cr.1cn t on aJl (lthcr

and 8wwten the temper of tho.e .ubjected to household pi~no prnctice. For this r C!18ClD , W" do n o t shrink from his many lesfed book-knawlng that its bulk means more pleasuro tban pai n, more muslc tban ~issonRnoc, more recreatio3 thau

i

nrr:m!;cll

t:.l ('1 rn are

8wects cf ~. amusements " with hi; pill or nO~2AAary dl'udp;\?ry, whieh aro caleuln.ted to reeonelle tbc ear, for tify the pa.ti~nce ,

I

tì ('S~

L'f"C {'t'Cl" :"c(m.--T IH~ Morlli r:~

dry bODe3 aBd frn.mt'wor~ 'rne pieces, trom thl! wSl.lds, meeting' tile yOt1ug trnveller each al thc l bis toilsom e a.sccnt, are nnexceptiona.b19 in point style, an" tbere are maoy of grllat beauty.-Dwil or Musie, Bost.on.

Mr,

Hllndrcds of similar

I h a.vo <,xamincd it thQrough ly nnd t hbk it

~ upcrior

t.o

~VQry

""'Of'k far tho Pia.no I ha.ve f.een. It; gr€'atly li ghten~ tbc t.'lSk of botll t.cncbcr nnd seholflr , nnù jg reall)' cntcrtaining t.brough-

I n~com1H (>n(! it to my fullo,v tctLchers.-S. L. PEcKu.\.:'..r, of ~Iu 5ic . \'fa,k cnelù. R. r. RtCH .\RD:::OX 'S N('w fl1cth<,ù I h:\\'c Ul1cd !'inceit.s pJ..!bli cB.t.iO'l, witll tue grc:ttc!(t 6UCCCS~~ and (,xi'~rh:n("c tC:1ChC3 mc it i8 u ot onl)' thc Òés~. b14t thc r.her:.pa.t l\'ork for thc Piano Fcr~~ cver puhlisbed.-HENRY MEAKW, MUliic Teachcr, Albion College,

out.

TC3.,~hcr

Albian, Michigan.

I consiclct' RICRARDt:O:'l 'S Ne'W :'Iicthod for t.he Fiano tO(3 vcry best instruction book forcvcry pupil whod c~ ir es to m:I.;ce ra.pitl thorou~h progrcss in ncquiringn. prac tica l knowl ed(,e of playing.- II. F. C-nALAUPK:\, Mu~ic T C:lchcr, Cobu~, C. ,V. Tbis new work is hnving nu unprp.cct!{'ut~dt:.'\.lc. o.ndit mus t for a. long tiwe rctaiu its supcrio ri ty.--Christian Frf'!Cmr..n. Such of our rea.ders ns d esirc a r calIy good pi:\oo fnstructian book will do ,veli to ordera.copy ofHICIIA.RD !'O ~'~ No,,~ Method. lt is a.1I that it is represented to bo.-Godoy's r~aày's Book. It li perfect in lts plnn i and, a.fter cn r eful eX31Dination, we bave no hel'iitancy in recommendin~ it toourrea.:lersasposseslIing many merits not claimed. by other worke of tbc kind.

and

Daily H.rald, Cleveland , Ol1io.

RIClB.RDS08 '8 Ne'W Method is certainly R.mon~ thc best works of tbe kind cxtant. It embraces thc princ:pl~ Qf uU oth cr piano--forte instructlon hooks. wbile Fua ny ntw and impcrtant

i
j;Jstt'llctlOIl llof'ks.ll. :;d o m: t!'l -:1t i:-t hiftllly rl·~o:.lH'!lcn(h:ù by tllc ~yr;~c u~ 1\1u!òl:kal Ao:':\.clcmya..:-y thin!.{ r d:ltillJr to th.t! l:1at t{lr i5 dj )l. po~ed of is O~h~ of tho chicf rcco:newndr~tions of the work. ThG usunll'f verbosc expln.naticns nnd com plkation of t ech nkal t~rn:lS are nvoided; and c(,c,mon !'cnf:<', p1:tin t3.1k~ r..ud lrrcvity ~rc substituteù.-Tbc Dai1y .1ournal l Bo~ton. n "c h4~O ~'!"cn thi:-: ncw work n. thorongh cx~minntion, :uld mURt prCluoull(,(!' it thc best eourFC of instruction for the l)iano t'h:.l.twc h:::.\"c cvc r :-:ct.!ll. Tt is ruorc pror.:r~i·.. c :md completo th:m n.ny similar work cxmot.-Tllc Aùvert iser, Cha.tt.'l.1I00lP\,

Ten n. Thcre is no tC"xt boole for thc student of t!lc pia.no at nll COffip:u :l.blc in va!oe to t hL~. '\'rc m('!st cordially rcçorumond it us 5uperior to ull otb~rs--u.n opiuion which an intclligent mll~i~o.l comrnunity are indorsiog in a snbitantia,l mr.-l'b.~ NetT Covcnnnt, Chicago. III. . This work 19 di~tingni.'ìhcd br f,.'l'Cn.t :mù pe<>ul~rcxc~ l1en('ic~ . It embodie.'i in ~ c}(>Ar and \lseful form di the n'su~ts of musical pr.\cticc. H i ... fan a.nd cXjI!icit in x.ll thc usu:ù elcn:C"nts nnd dcfinir.io:ls. ~uc<,~eded by :-.. ::radu:'Il !!:€'.ric! o( fi'ft:-fingel' c:terci~ itltcr~p(' r'!ied @y ~lUtif\lllittle (·(lmpm:itioD~. h.\' which thc t fl'tEum of mll ::: j c~ l pr:tcticc is f'ery muçh dimiui:::bed.-Tho MOl'avian, &tblc:!lcm, Pa..

,

T eachers and Schol:m CJln order this work with perfect reliability npon its hcing, in eVGry particnlar, ali that it is rcpre.~ented to he_ Tl'i'o cr.itions are pnblishcd, Q. .!C a(lopting .American, the othe~ Fo_reign F!ngerin.g_ ~en th~ ,:-ork is ~rdered, if no prefere~~ is de~ignated, thc e~itiGn with A_mcrican Fing-ering ,~11 besent. D:? Be sure that in ordermg It you ~ partlcular m spoclfymg the 'NEW METHOD, Pnca, $3.75_ Mallcd, post-pmd, to an: addrcss_ oold by alI Music Dealers. A critical analysis of this work sent free to any address.

Oliver Ditson & CO" Boston: C, H, Ditson & Co" New York, 1IfiI"

lGO,OOO Copi... of O,i. work have already heen 601d, nnd the .ale, w blch \. Btead!lylncrcasing, 18

no,. ~t the rate of 2:;,000 per ycar...$lt

r---------------------------------------------------------~------------------------------_t\

Valuable Music Books published by Oliver Ditson & Co., Boston: C. H. Ditson & Co., New York. Sento postagc pald. on recelpt of" prlce.

WORKS

PltIKEBS, DICTIONA1UES, AND THE01Ul'l'ICAL WOBIS.

011

MUSiOAL CO M POSITIO N.

OalcQtt's Musical Grammar. II. Melody.

III. Harmony.

In Four Parts. I. Notation. IV. Rbythm. Containing within a

small compllss thc leading principles of Musie. Priee $1.00.

Weber's TMfwy 01 MusicaZ Oomposition.

Treated with a view to a Naturally Consecutive arrangement of Topics. Translated from tbc tbird enlarged and improyed German edition. With Notes. By JAHES F. W ARNER.

2 volumcs.

By Dr. <ÀLCOTT.

Olarke's jl.lusical Oatechism.

Designed for the assistanee or Teachers of tbo Piano-forte. Prcpared from the One Hundred and

Eigbth English Edition. 313 cents.

$6.00.

Five Tlwusand Musical Terms.

Woodbury's Elements 01 Musical' Oomposition.

With rules for al'ranging Music for full Orchestra and Military Bands. By

I . B. WOODBURY.

75 cents.

A Complete Dictionary of Latin, Greek, Hebrcw, Italian, French, German, Spanish, English, and such otber 'Vords, Pbrases, Abbreviations, anù Signs as are found in the Works of alI cminent Musical Composcrs.

(}uWe to Musical Oompolrition.

By JOHN S. AD.urs.

Boards, 75 cents. For thosc who desiro in

l\

short time and without a tcacher IO acquirc the art of inventing Melodies, and ofproviding Ihem with suitable accompuniments. Espccially of composing the casier kinds of musical picees.

WOllLl'.t.:wn:. Translated by J. S. DWIGIIT.

By lIEINRICII

Cloth, 81.25.

j,enhart's Elements 01 Music. A cleur amI systematie arrungement of Rules for the Piano-forte.

To which are aùded Burrowes's

Guide to Praetice, anù Czerny's cclebrateù Letters on thc Art of Playing the Piano. 50 cents.

lIarx's Genm'al Musical Instruction.

An aid to tcachcra anù learncrs in every brnneh of musical knowledge. By Dr. ADOLPB BERNluRD MAUX. Cloth, $2.00.

STANDARD WORKS

mOROt1GH BASS AN'D liAltMON'Y.

This i~ a translation of one of tbc most valuable theoretical works tè science or musie published in Gormany.

on

1fatel'ia Musica: or, Matel'ials

A

IQ"/"

the Pianist.

elass Book, containing the Principles of' Musie applieù to Piano·forte Playing, ndapted for Private Tuitioll, but more cspceilllly arranged for the Use of Schools for Young Ladies, Normal Schools, IInd other

Johnson's Harnwnf/.

Praetical Instructions in Rarmonr, upon tha Pestalozzian or Inductivc System; tcaching Musical Composition and the Art ofExtemporizing Interlndes and Voluntaries. This work is designcd for "new beginners." lt imparts a knowledgtl of Harmony hy exercises which thc stndent is to write. The utmost sim-

plicliy of langllage has boon used in tbe cxplanations. JORNSON.

By A. N.

Pricc $1.25.

A New Manual 01 Thorouglt Bass, and Text-Book 0.1 ~usical TlteOry. By EDW ARD B. OLIVER, Principal of the . Mcndelssohn Musical Institute, Boston. For beginners, and cvcn fur advaneed scholarll as a book of referoncc, it will l:lc fonnd invaluable. Price, in elotb, 67 cents; boards, 50 ccnts.

First Steps in Thorough Bass. between a Tcacher and a PupiI.

In Twelve Famililr Lessona Price 75 cents.

Burrowes's Oompanion to Thorough Bass Primer. Being Fifty Preliminary Exercises, consisting or a Bass and Melody; to which is added

Il

Key to the Exercises. This is oue of the finest

works on Thorough Bass extant.

Price 75 ccnts.

Seminarics of Lcaroing.

By J. C. ENGLEBRECIIT.

75 ccnts.

or

~o01'e's

Oomplete Encycloprodia 11Iusic. Elemcntary, 'l'cchnical, Historical, Bio;;rapI:ical, Vocal, and Instrlllllental. Em-

brllcing a complete history of the science from the carliest time to the present; a very ftlll anù comprchensive musical biography of more than fortr /hollsand disting llishcd musical cclebritics :md composers. The autllor has cndeuvorcd lO pre~cnt ali the neccssary info1'mation which may be required by those who wish to m'rh'e at eminenee as vocalists or musicians; Imù he has givcn n ùesc1'iption or, or direetions how to use, aH the known musical instruments; with more than h.mdred 5hort yet important essays upon various sllbjects connected

tu.'O

with thc art ulld sciencc of music, amI nlmost c\"c1'y sllbject to whieh the attentioll of the musical stndent should bc direeted. W . MoollE.

By JOHlf

Cloth, $6.00.

aiver's Text-Book. By E. B. CUtline 01 Musical Form.

OLIVER.

Cloth, 67 centa.

Dcsigned for Musical Stuùcnts. A

Treatise on Symmetry and Musical F orm, Rhythm, Melodie Strnettire, The SOllg Form, Rondo, Sonata, Ecclesiastica! Form, &C. By W. S. B. MATHEWS.

60 cents.

Elements 01 TlwrouUh Bass and Harmot'y.

Designcd for tbe uee of Schools, Classes, uud Conservatories, and as an aid in acquiring the ART OF PLAyrroo CHUUCH MUSIC, and of extemporizing. By L. II. SOI."J·U ..I,lw. Cloth, 67 ccnts; boards, 50 centa.

':Ite Tuner's Gwide. Containing .1I Complete Treatise on Tuning the Piano-forte, Organ, Meloùeon, and Seraphine; wgether with specification of defects and their remedies. 60 centa.

~

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-/..-" Valuable Music Books published by Oliver Ditson & Co., Boston: C, H. Ditson & Co" New York, Sento postage pa.ld. on recclpt of prlcc.

Cantatas by Eminent Authors.

Singer's ltEanual. Containing Elementary Instruction

Exoellent for SÙlgmg Societies and Schools.

Ku:sical.Mirror. Elementary Instructions and a collechon ofMuslC adapted tCl 5ncred and Seculnr Word•. By S. B. Pmpps. 76 cta .

•t •• •

Part Songs. FOR l'HREE AND FOUR FEMALE VOICES

8 A C R E D.

.As the Hart Pants.

$ì~o~ choice collection of Secular IlJld Sacreù Music. By W. WILLlAM~

(42d Psalm.)

By MEN-

DELSSOHN. BoarM, 50 oe!its; Paper, 40 cent•.

C(}me let us S·i ng. (95th Psalm.) By MÉNDELSSOHN. Boords, 60 cents; Paper 40 cents.

Selected mostl,. from " coll ection by S. MliLLEn, and translllted by FANI!I; MALONE RAY>IOND. 75 cta.

High School ChoraUst.

A Selection ofChoruses

and Fl1ur~P"rt Songs /Toro tbe Works of the Great Masters.

Operatic Album (The).

$1.00.

A Collection of Music, in

Parts, for Ladies' Voices. $1.25. Hear my Prayer. By MENDELSSOHN. 50 cents. Hymn of Praise. (Lobgesang.) By MENDELSSOHN. The Greeting. A Ne,,' Collection of GÌees, Quartettes and Choruses.

Price $1.00.

Lay of the Bell. By ROMBERG. 75 centa. Miriam's Song of Triumph. By SCHUBERT. Price 75 centa.

Morning. By F. REISS. 50 centa. Praise of Friendship. By MOZART. 50 centa. Praise to God. A Choral and InstrumentaI work. BJ · G1wRGE F. DRISTOW.

ClOtll, $2.26.

Transient and Eternal.

By A..·oTDREAS ROMBERG

Price 38 cenw.

FOR 8ECULAR FESTIY ALI. Burning Ship. For mixed voices. By B. F.

BAKE~

Boards, 85 cent..

ltEay Queen.

W ords by HENRY F. CHORLEY.

posed by WILLIAM STERNDALE BENNETr.

St. Cecilia's Day.

Con.

Paper, 90 cent5; Cloth, $1.21

By V AN BREE.

Cloth, $1.2~

Paper, $1.00.

The Picnic. A CANTATA (entirely new) designed for

t~ use of School" Singing Cla.sses, snd Socinl G..therings, for mixed void. Aiso arr.anged with sepnrllte vocal .core for female voicee,on the same Word! by GEORGE COOPERo Music by J. R. THOMN!. Just I.he thing Summer Musical F",tivals. TUE GATHERING. - " A",:\y, away, to fields of green." ! TnE DEPA1WIi!m. - " MCl'rily ove~ the water." ! THE ARRlYAL. - " Up th" bili and down the dale." SPORTS.- " Swinging," "Lilly bells Md ros85," "A jolly good la.ugl' A The Skippillg Rope." TI11~ STORM.- l< O hark! O hQrk! Thc winds u.re rlsing now." BRl
P1

The Storm King.

W ords by H. M. TICKNOR.

Soprano anel Alto.

.Li Winter

An

OPERETTA

By Iù:RMAN S. SARONI.

Evening'.~

$1.38.

'

VOlces. Deslgnecl cxpressly for Female Seminaries HiO'h Schoals ... · lle""" &c. ' '\I ,VU b-'"" Cloth, 76 cents. CompIled by D. N. HOOD.

Books for Grammar, Intermediate, Primary, and J'uvenile Schools. Golden Wreath (The.) Boards, 50 cen ts.

By L.

O.

EMERSON.

.This Book . is superior to 1\.11 others of the kinù, both in its instructions and muSlC: the . former arll elUly ~Il.d thOTOUgh, ~nd include nuliierous attractive vocal .exercIS85, seyeral combllllng the phYSlcal with the menta). The musie compr","s over 2~0 of th~ vary best nnd most popul:lr songs. 1'1IJQ h..ndred lIfId fifty tIwmand copies of thls book ha ve been prin led nnd sold.

Merry Chimes.

A J uvenile Music Book contaihing

Elementary In.tructìons, Attmctive Exercise~, and Several Hundred Popular Son~.. By L. O. EMER80N, author of "The Golden Wreath" "Harp or Judah,' &C. 50 C
~his book is equalll' M good as the "Golden Wrellth," and in mnn r ects snperlOr. The InstrncllOns are excellent, thc Exorci.e., ea.sy and plel.a::i' and the. 80ngs such ... havc .nppenred und become popuhlr favorite!! sillce the 'ublicatlOn of the former work, together with mo.ny new piece... It is meetinl with a demand unequalled by that for uny similar pulJlicntion.

The Nightingale.

A

Choice Collection of Songs

Cbanto and Hymns for Juvenile Cla..e., Public Schools Seminarie- and Home Recreation. By W. O. & H. S. PEJ:KINS. Boards, 50 cents. ", Thia work, similar in styl.. to that of the "Golden Wreath" ha.s rap'dl attain.ed a wide popularity. It oontains·, in aùdition to attracti~e Ies.sOllS ~n~ exerClses, over 200 songs. '

JUST PUBLISHED:

THE COlDEN

ROBIN.

TBE LATEST AND MOST POPULAR JUVmm.E BOOK. BY W. O. l'ERKINS.

by B. F. BAKl':R. 38 cent5.

The Twin Sisters.

By L. O. ElUmsoN.

The. Trio •. A Collection of l'hree-Part Songs for FemaIe

for two voic

Author

ur the "Nightingale,"

~ S: rel="nofollow">.bbath-School Trumpet," "c.

Boards, 50 cent..

Entertainment. A Soc

Cantata. Words by SIDNEY DYER. Music by A. CULL. Paper SI. Cloth, $1.26. Thi. Cantata introduce. the hearty pleasures which enliven our wir eveninga, and posseeses many attra.ctive features which will cause it to beco the mo.t popular work of its 1cind ever published. It is elll!i1y "brought Ot nnd Cl\!ll1ot fai! to :tfford satisfaction and amusement whenever produced. include. a "QUILTlNG BEE," o. " SNow-BALLING SCENE," "RIDE AND SEB Love Scenes, Comic Scencs, and other attractive features. The Cantat.. can sung withont II.Ction or scencry; but, if the lo.tter i3 desired, a Iittle ingenuity 8upply it, directions for which are given.

For High Schools, Seminaries, and AdvancE Classes. The Grammar School Chorus.

Containing W

helm's Celebrate
ContaiDing Elementary Instruct!ous, . Attractive Exercisee,. an4 Several Bndred Popular Songa. • . . Thi. ne,,! book will be found SUPERIOR T() ALL SlMn.AR WORK8 in ~Ol1y ~mta. essentlal to s popular instruction book in Vocal Music nnd eollection of elodlei ,f0r the Young. Severa! J<:ditions have nlrendy been ordered, and the demllJld mcreases. M;wy of the Songi hnve been written expressi for th.) work; and none of the songa are old nlld time-wom, - sung through Il dozen books, but NEW AND SPARKLING, AD,\PTED TO ALL OCCA810NS AND ALIY!!: WlTH THX SPIRIT OF TRE TI1dES. Price 60 cents. '

New Sabbath School Music Books. Glad Tidings. By L. O. EMERSON and L. B. STARK-

WEATHER. Br!ght and Spirited MWlic. Not re-lll'nlngements of old and worn·out Melodles. New words and ftesh music. " The great reput:ltion attained by ali of Mr. EMElUlON'S forrner works the Golden Hnrp," "Golden Wresth," "Harp of Judah." &c. is a &uflì~ient gnaranty of themeritandsuccesa of" Glad Tidings." Prlcein!x;ards 35cents· Paper, 30 cent.. ! ' ,

ltEorning lltars • . A Collection of Religious Songs .American Musical Class Book. Containing El The for Sabbath Schools and Home Clrcleg. Ad..pted 8llpecially for UII'IVER8AIr mentary In.truction8, Vacal ExeroisCl! Md SolfeggiGS, Duet., Tri06, Concertod Pieces. By T. BI88BLL. BOard., 76 C6nts.

Young Ladies' Vocal Album.

Il

A Collection

Choruse., Trios, and Dueta. Selected by CHARLE8 D. G. ADAM ·TeRCher MnBic at the Buffalo Female Academy. Including 1\ Course of \recal Ex oises and Solfcggios by Rossini. $1.26.

1ST AND UNITARlAN DENOMINATIONS. Arrangeù /Tom the Folk Songs of Germany, - a' rich mine of 8weet snd simple melo~ies hitherto but Iittle worked .. Care has been taken in tbe selection alld adapt:ltlOn of th.e lVords, that they mlght faithful!y reflect thc sentiment of th~ mu.s:c. Great pll!n. has been tnken to put the music into proper keys (O!' children 8 usage. Pnce In Boaro., 36 cents; Paper, 30 oents.

250669

TRE

MODERNSOHO'OL FOR THE

A NEW, PROGRESSIVE AND PRACTICAL METHOD. I N

T R

R E E

P.A. R T S.

PART I. HISTORY AND DESCRIPTION OF TRE ORGAN, ELEMENTARY INSTRUC'fION, EXERCISEB, AND VOLUNTARIES IN ALL STYLES OF PLAYING TRE ORGAN, (WITROUT PEDALS.)

PART II.-PEDAL PLAYING. PART

II.

COMBINATION OF STOPS, VOLUNTARIES, AND PIECES SUITED TO ALL OCCASIONa

BY JORN ZUNDEL, oao~ST .ANI)

DIRECTOR 01' lIlUSIC AT PLYMOUTH CIlUlICII, BBOOELYN, IJ. y.,.

BOSTON: Published by OLIVER nrTSON &. CO., 277 Washington Street. NEW YORK:

C. H. DrTSON & co.

Entered aceordlng lo Act or Congreu 111 Che 1 - 1800, b1 OLlViII Dll'SON, In Che Clerk'8 Olllce or Che D~trio~ COIUC of Ch, DilCricC Q( )lllol5achuse~\8. ,~

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C,..) i·J

--} t-··

C·~.'

S

:1

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PREFAOE. the masterly works of Rink, Schneider, Best, and others, have been eagerly sought for, and doubtless advanced the art of organ playing materially, tbere still remaÌned a want of sometbing more natural and perspicuous, - sometbing more graduaI and progressive,-wbich, taIdng tbe student up after a moderate lmowledge oi' tbe elements of music, and of tbe key-board of tbe organ, should curry bim tbrough the detuil of fingering, touch, stops, pedal-playing, etc., to a full and comprehensive knowledge of thejnstrument. In this country, a practical and progressive course of instruction bas long been felt and demanded; tbe autbor, wbose experience in giving instruction to aH classes of pupils, not only beginners, but Iadies and gentlemen bighly proficiel1t in piano playing, who felt the nccessity of receiving instruction if tbey would obtain tbe same mastery over tbe key-board of the organ that they possessed over that of the piano, has availed himself of the material of tbese great masters, and produced a school fitted for the earnest, progressive, and practical American studen t. The au thor flatters bimself that he has made a complete work, - that in every department of organ pIaying, exercises for fingering, touch, combinations of stop s, pedal-playing, and voluntaries for different occasions, Ile bas furnished ampIe material, and n~gIected no oppor~ tunity of clearlyexplaining every difficulty in tbe way of the organ student. The excrcises and instructions for pedaI-playing are very tborougb and comprehensive; the voluntaries are mostly seIected from the works of Rink, (whose pupil the autbor had the good fortune to be, and from whom he received a number of compositions, which are now herein for the first time published,) Schneider, Best, and others. .The whole forming the most comprebensive' and efficient com'se of instruction for tbe organ extant. ÀLTHOUGH

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CONTENTS. t

PART I.

P..,a

PAGa

Exercises (interspersed with V oluntaries), in Crossing the Feet over and under each other,. • 85 -94 Exercises (intersperse.d with Voluntaries), in Substituting one Foot for the other, • 95-97 Exercises for the alternate use of the Toes and Heels, 98:...99 Sliding from one Key to another, 100

UISTOny AND DESCRIPTION OF TRE ORGAN, l) Bellows; Wind-trunks; Wind-chests; Claviere, Keyboards or Manuals, 6 Draw-stops; Pipes; FIute and Reed Stops; Size of the Organ Stops, 7 Description of the Organ Stops, 8 Compass of the Stops, 9 00 examining Organs; Outline for a PIan of an MIXED EXERCISES (in the shape ofVoluntaries),. 101 Organ of Ten Sounding Stops, • lO Tlios on Two Staves, 101-104 Country and City Organs; Organs for diflèrent deTriQs on Three Stavell, 105-116 nominations; Organ-touch' Style (legato and Exercises for the Left Foot alone, 117 staccàto), . 11 On Playing Octaves, 118 On the Pedal-Shake, 121 l'SALMODY PLAY1NG, · 12-13 On 'playingChol'ds; On V oluntaries and Interludes; PRACTICAL VOLUNTARIES,. 124 I10w to take care of Organa, 14 Opening V oluntaries of a mournfui character, . 131 Exercises for the acquirement or .the Organ-touch, .' 15-19 Opening VoLuntaries of a joyful oharacter, 1.34 1'WO-PART PLA Y, • Exeròises with Slurs or Ties, Interludes and V oluntary, Exercises in StaccatoPlaying, . Fugue anùShort Pieces in Two Parts,

20 .20-22 • 23-24 .25-26 .27-32

THREE-PART PLAY, 33 Exercises to make the fingers independent of each .33-34 other, . Fingering by substitution, . 31-35 V oluntaries and Short Pieces in Three-Part Play, • 36-53 FOUR-PART PLA Y, . Close and Dispersed Hatmorty, Voluntaries (Preludios and Postludios), Gl'ace N otesand Embellishments, Arpeggi08,

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PART II.

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54 54 · 55-70 71

P A R T I I I. COMBINATION OF STOPS, List of Various Combinations whieh may be .made on an Organ of One Manuai with 14 Stops and One Stop 011 the Pedal, SpecificationNo. 1, • Specification N'O. 2: of an Organ of TwoManuais with 21 Stops, and 8 Stops on thePedal, . A Series of Combinations which may be made on the Organ describedby Specification No. 2, Specification No.3: of an Organof Three Manuais with 40 Stop~ and llPedai Stops (calculated forCongregationai Singing),

138

138 138 138 139

139

72 OPENING AND CONCLUDING VOLUNTARIES,. 140 Preludioa aud Postludios, consisting of Arrangements and OriginaI Compositions by variousMasters, and the Author, on pp. 140-150,152-7,160-3, 16t3-,,181

73 FORORGAN EXillBITION ORPRACTICE .IN PEDAL PLAYING, 73 TRE COMBINATION OF STOP S, 151-158, 159-165 Introductory Uemal'ks, Compass of Pedal-Boards, 74 182-188 Exercises for the alternate use of the Toes of Right FOR TRE CONCERT, and Left Foot, • 74 Further Exercises in the shape oi Trios and VolulJFOR TRE CONCERT OR CONCLUDING VOLtaries, 76-84 UNTARIES, 13}-2OC

TRE MODERN

SCHOOJ~

FOR TRE ORGAN. PART I.

mSTORY OF TRE ORGAN.

nate for that ]Iurpose.* This instrument, in it8 constructioL employed the builder four years j and, in 1596, the most emi. nent organists in Germany being- invited' to sit in ]udg-ment, the names of those who signed the certificate of approbation, aI!lonnted to fifty-three in number. Among the eminent English organ-hUllders who belon~ to the seventeenth century, are the names of Presto n of Yorl" the Dallais of London, and Loosemore of Exeter. Of one of the organs of the last-named builder we have a report which says: " February the l"t. Ifì65. Then made a bargain with Sir Geo. Trevilyan, for an organ with these stops in it, as f01l0W8 .

1'm; eiWly history of the organ is so much involved in obI ~lInty, tliat it is scarct'l y worth while to repeat any of th~ v uiou!< coujectures which bave been made concerning; its first ulvt'ution. It is said that org;ans, or rather instruments resembling organs,were in use .amongst the Greeks ~I),d Jews as early as in the fourth Cl-'nturv. Organlike instruments, called "Magrapha aud .Ma~ltrokitha;" are said to have been in tne Jewish tempie; of whi.ch in.-truml-'nts ali ancient writt'r(St. Hieronymus) says, that thpir sounci coulci beheard OD t.h~ Mount of Oli ves. 1'0 gi ve some idea of these anciellt organs, it may be ~tated, that alle Diapason, "\ lane Principal, it .requirl-'ù seventy stout men to work the twenty-slx bellows, One Flute,. }these in One Flageolet, ~ these in alld two or,ranists to dispatch the wind through the four hunOne Recorde, wood. lane Trumpet, mettle. dred plpt'S ~f an instrument which was b',ilt as late ~s in the Une Fifteenth. One Shaking Stop. ,rni,ldle of the ninth century,for Bishop Elfeg, at Wmchester, EW!,lalld. ' The Germana seem to have been (even as far back as this 'i be \'eryearheRt organs were not huiIt for church-purposes, period) pre-eminent, not onIy in the building, but aiso in the and Itwas f'ot until wward 1he tenth century, wh(;n organs playing of organs.t It was in the sixteenth century that difw~re put inlu churches, and considered ,. church instruments." ferent registers, by which alone a variety of stops could be lt is said, that it \\ asin or .about the yefir 640, when England formed. were invented. They were: l. The stopped pipe; 8aw the fir~t org-an withina church. 2. By employil'g the small scale, the Viola di Gamba; a. BJ li]! to allOut A. D. 1000, the compass of the keyboard was empluying the large scale, these meHow, rieh, op~n Diapa. only one oclavp, alld each key was nearI)' a yard long, from sons which "Silberman" has furnished in the utmost perfecthree to fOllr lIlcbes brond, and one and a half inch thick, and tion; 4. Hegisters to taper upwards, such as the Spitzjlote, shapetl like ou~ rnodt'rTl piano keys, with rounded ends. The Gemshorn; 5. The Reeds under the various names of Posaune, act iOll was such Ihat the keys haa to be "stricken" a foot deep T1'umpet, Shalm, (Shalmey), Vox Humana, Bears-pipe, (Bar. enpfeife). wlth the fist. l\louks and prifl,sts occupied themselves,ill the gloomyera The mechanism of the organ appears to have been welI unof the middle ag;es, not onIy with oqranplaying, but also with derstood by the Italians in early times. Tlie family of the orgall buildlllg j alld, in t.he yearl350, a monk is reported to Antegneti of Brescia, iII the fifteenth and sixteenth centllries ; ha\Oe buJlt (or l'alher lini.heci) an org-an of twenty-two keys, at Vincenzo Columbi, Vincenzo Colona, and Luca Blazi Perugino, Thurn, in Gt'rmany. Soon after this, the compass of the key- -alI these men built organs which were inferior to none in tha ouard was elllawed t.o two and three octaves, and the semi- world . .toues (upper key~) wereadded. At.a period, somewhere beIn the year 1641 the philosophical writer, lohn Evelyn, tw(~en 1359 aud 1361, a (;erman friar, uarfied Nicolaus Faber, could say of HoIland: ,. generally ali the churches there, are puta lle\\organ of four keyboards and pedal (as the report furnished with organs " He speaks of the "Organs at Haer. says), "for tht' fist alld fpet," in the Dome at Halberstadt. lem" and of an organ at Vienna, as being " exceedingly sweet. Laro-e churches were 800n provided with two, or even more, and well-tuned." ,rgal1s~a larli:er and a smaller one-the larger having always In the middle of the seventeenth century, there were " one hunrlred and forty-three pair of organs" at Venice, distributeJ tWtl keyhoards. In 1592, ihe magistrates of Groningen contracted with Da- a t t.he following places: Seventeen in hospitals, sixty-seven vid Beck of Halherstadt t'or tbe construction of an organ in the in parish churches, fifty-foUI' in convents oI 1riars, twenty-six castle church of that city. Articles were dra,wn u.p between the in nunneries, eightt>en in oratories, and six in schools. William Carr, English Consul at Amsterdam, in 1688, meo. magistratt's and the organ-builder, inwhich it was a&,reed by the former, that for an instrument, the contents of whwh were minutely described, a certain stipulated sum should be paid to Andrew Workmeister's Organum Gruningense. redivi ... um 17M-A. th.e latter, at its completion, provid~d it was approved, aft~r 1 t Dr. Burney say8: "Great organs and great organista seem, fOr more ,ha two centuriee, to bave been the natura.l grQwth of GermlLDVo" Irial and el(amina~ion, by 8uch orgamsts as theyahould nOffilo

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i\IODERN SCHOOL FOR '.cHE ORGAN.

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tions sev'el al interesting particulars concerning 9rgans. Re states, that there \Vas in that city an organ " wit'n sets of pipes that counterft~it a corus of voyces; it hath fi~ty-two whole stops, beside halfe stops, and has two rowes of keyes for the feet, and three rowes of \ceyes for the hands." He goes on to state further: ., I have had people of q uality to heare it play, who could not believe but that there were men or women above, singing in the organ, until they were convinced, by going up into tije organ roome, etc." At Ramburgh, the same writer tells us, "the churches are rich in revenues and ornaments, as imag-es and stately organs, wherein they much delig-ht. They are great lovers of musick, in so much that I have told seventy-five masters of severall sorts of musick in olle church, besides those who were in the organ-gallery. 'l'h e Il' organs are extraordinarily large. I measured the great pipes in the organs of St. Catharine and St.. James' Churches, aud found them to be three foot and three-quarters in circumference and thirty-two foot long; in each of which organs thne are two pipes five feet and eig:ht inches round." Bernhard Smith, generally called Father Smith, and his two nephews, Gerard and Bernard. emigrated from Germany to Englalld, between the years of 1650 and 1725, and built there more than ~hirty very excellent, and mostly large organs. Renatus Harns, who died in 1715, was a cotemporaryand rival of Father Smith; the number of his organs runs up to twenty-nme. Othpr celebrated org-an-builders in EnO'land were John Harris, John Byfield, Christoph Schneider (a pupil of Father Smith), Thomas Schwarbrook, the Jordans (father and .son) , Ricb~rd Bridge, Glye & Par,ker, John Snetzler (a German, who IDtroduced the double Diapason and the Dulciana), Craag & Hancock, Samuel Green, John Avery, the Englands (father and son). All tbese orO'an-builders flourished durinO' the period between 1700 and 18'04. o l~urin~ the eightebnth century, Germany was especiali y prohfic ID large organs; and most of these instrumeni:s still remain as hOllorable memorials of the talenti! of their builders. Amongst the most renowned organ-builders that the world has produced, are the celebrated Silbermann family. The founder of tbis race of talented men was Andreas Silbermann, born in Saxon~, in 1,678, who b~ilt, duri~g the space of twenty-seven years, ID wlnch he flounshed, thlrty new organs. He died in 1733. Gottlried, Johann Andreas, and Johann Daniel Silbertnann also built many large and well-finished organs. Cotemporaries and successors of the Silbermann's were: Z~cbarius Thessner, Adam Sterzing, Heinrich Herbst and SOli, MlOhael Engler (between 1688 and 1760), Johann Michael Roeder (1726), amI the Hildebrands, who built the or
DESCRIPTION OF THE ORGAN. TRE

BELLOWS.

The bellows are said, hy some, t.o bave been first introduced by Lobmger, of N uremberg-, in 1570. According to other acIlounts, they were invented by Hennings, of Hildesheim, in the teventeer th century. A t any rate. thev were of German

on~JJI.· UntIl of late, there were two kinds of bellows mei wlth in church organs, namely, diagonal, (the older), amI hOlizontal, the newer kind. 'l'he latter kinù is the only descri!, tion of bellows made by English and French builders. \-Vittl the German builders, the former have been in great favor until of very late the cylinder-bellows (Kastenbiil~e) are being uni~ versally adopted, at least in all large organs.t It matters, however, very little what kind of bellows an or g~n may have, as long as they furnish enough wind-and a steady wind. To ascertain whether there is pnou~h wind or not, the organist rnay with full org-an play one of .Bach's or Rink's fugues, or Nos. 41 and 42 of the third part, and if the wind does not give 'out without nearly killin
.'

WIND-TRU~KS A~D

WrND-CHESTS

Were we to write a treatise on organ-building-, much rnig-ht be sllid on these parts, principally on the wind-chests; bllt for practical purposes of organists and music commit.tees. we state but two requisites. viz: 1. Wiud-chests rnllst be as air-ti~'ht as the bellows, which may be ascertained by closillg ali and e'lery stop, and (with a full sllpply of wind) pressinl! down alI keys at once. 'l'he least noise then hp.ard proves the la(~k 01 workmanship in this department. Of course, organ-builder!> gene~ally know how to obviate such a trial-hefore illcompetent Judges, at least-but space would not P' rmit us to point out how it is done,t 2. The so-~alled frollt-board (as the front of the wiml-chp.st is called) is made movp.able, he~allse the " pallets" are immediately illside, and they are liat,le to temporary deranl('ement from a variety of caust's. aud are therefore required to be easy ol accesso 'l'he frollt-board, then, ought to be simply fastened on with screws.:So thiit it m~~ be soon removed, ii the pallets require cleanillg ur lepamng.

CLAVIERS, KEY-BOARD8, OR MANUALS. Some organs have two, three, or even fOllr claviers. Tllf'Sf are arranged one above another, alld so that the lowest stand.out farthest, and each succeeding one recedp.s. J n an' Or""1111 having two manuals, the keys of the Great-orgun 'fllnn tbl' botto m row, and thOH~ of the Swell the upper. Wlwre tlw, t' are three manuals. the great manual is usually in tbé middle, with the Swell above, and the Choir helow. III' Germall On.!l1l1i the ~reat manual forms the bottom-row, and is called first. ma· nua~. 'l'he USllal compass of the manuals is 56 notes, fl'om

ç

to G. The compass of the Pedal or Pedal-board varie~ (tu the great vexation of organists) very much. The proper com. pass is two octaves, from CCC to C, or 25 notes. (~ee page lO.) " Edward Hopkins' "The OrgBn,"

t The organ in the Mnsic Hall in Boston nnd in Plymonth Chllrch in Bl'ook. lyn are to be the first orgRna in this country provided with sllch bellows, t Experience bRS tal1ght I1S that fllBny organ-builderB. knowiug their wind· chests not to be air tight enol1gh, alll! being apprebensive of a ve,'y possiblò! springing of a SOllnd board-bar, are in the habit of liuing them with .. groves" to prevent l, runnillgs," But in the latter case even .. bleeding" wonJJ 001 do; an accid~n~ of ~,is kind can onIy be /hwoullhly cured by taking the wi_ chest to pieces,

l\IODERN SCHOOL FOR THE ORGAN.

DRAWSTOPS. THE COUPLERS.

A Coupler is an appliance by which either a second Manual, or tI.e Pedal and its stop s, can be brought into play, while the per.tormer's hands or feet are engaged upon the first. For the tllllt' being, the stops or pipes coupled, appear to belong to the key actually struck, and new effects and combinations becorne thus produceable, which are not otherwise attaiullble on the same instrument. Couplers art. ela~sed undpr two heads: viz., Manual-Couplers and Pedal-Couplers. The usual Manual-Couplers of an organ with three Manuals are :-Oouplers: Great Organ to Swell; Great to Choir; Choir to Swell. Pedal-Couplers: Great Organ to Pedal; Swell to Pedal; Choir to Pedal. These are Unison-Couplers. Octave-Couplers are objectionable. The Tremulant is a small apparatus that gives to the tone of any department of the organ, to which it may be applied, a wa,-ing or undulating effect. The .Tremulant is latterly omitted bv most alI good organ buildcrs.

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at common temperatures under even the combined influence 01 air and moisture. The teme produced from pipes or this material is, however, lighter than that of tin or metal pipes of the same structure. Its cost, however, scarcely a tithe of that 01 good metal, much favors its introduction. Wood.-A great number of the large pipes. as well as some of the smaller, are made of wood; and experience proves, that pipes, made of good, well-seasoned wood do better service and are of longer duration than inferior metal ones. Good org-anbuilders are particularly careful in the choice of wood. The)'" will never use any that has the Jeast flaw or knot in it, and rather throw away and make another pipe than 'waste time in trying to mend a bad one. And so it ought to be: but the covering of these pipes outside with a coat of red size, although ostensibly applied for the sole purpose of renderino- the wood pipe-work " thoroughly sound," is often the mea~s ol concealing the bad qualit.y of wood. The pores of the wood are effectively enough filled up by covering the inside of the pipes with a layer of thin glue, which, by rendering the surface smooth, improves the tone of the pipes.

CLASSIFICATION OF THE SOUNDING 8TOPS. TRE PIPEB.

Flue and Reed Stops.

MATERIAL USED FOR ORGAN-PIPES.

The various substances of which organ-pipes are made, are: tm, metal, lead, zinc, and wood of various kinds. Of ali the maT,erials just specified, tin rankl! first in Foint of excellence ; and of thc many existing varieties of tÌ1iiJ substance, that found in England is held in the highest esteem. Metal is a word usel tl:'chnically by organ builders, and is understood to signify a mixture of tin and lead, which compound is valued according to the quantity of the former ingredient contained in its composition. The metal ordinarily used abroaà consists of two·thirds of tin and one-third of lead, or half tin and half lead. Bad metal (one-fourth of tin and three-fourths of lead, as is frequpntly found), is discernible in a variety of ways; to the eye, hy its dark blue tint ; to the touch, by its prl)ducing a duB, hollow sound on being rapoed, whereas pipes of good, thick metal produce a elear, ring!llg soundj and to the nail, by its being easily scratched, whereas tin can scarcely be marked 1lI that manner. Metal, composed chiefly of lead, also easily soils paper on which it is rubbed. The great cost of tin (or even of rich metal), five or six times that of lead, and more particularly the baneful "Iow contract" spirit which unfortunately pervades most modern transactions in organ-building' matters, preclude its use almost entirely in this country; although it would, on account of the greater durability of the material and the superiority of the tone of the pipes, prove to be the cheapest in the end. Lead, either alone or with but a slight admixture of tin, from its inability to sustain itself for any lengt.hened period, is, as a mat~rial for metal Olgan-pipes, comparatively worthless. The greater thickness to which a sheet of lead must necessarily be made to compent'ate for its natural softness, added to its ~reater specific gravity, are circumstances that render the bodies of leaden pipes so heavy that their feet are very liable to becorne depressed at the ape x from the weight, and the languao-e to siuk, whereby the intonation of the pipe is endangered, if not 10st. Lead is also very much oxydised by the combined action of air and moisture, which is no small reason for its unfitness, without the necessary admixture of tino Zmc is being frequently used for the gtructure of laro-e mera!-pipes: and it is a metal that undergoes but little alt~ration

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A series of pipes, the range of which extends from the 10"':est to the highest key of the Manual, or Pedal, .gradually dlminishing in length and size, havino- the same quahty of strength of tone throughout, and the mech~nism of which wiB allow. oi their beino- sounded inrlependently of those of the other senes, is called ;: stop . . The stops are, according to their structure divided in two classesj namely: flue stops and reed stops. Flue pipes are such as have an oblong opening; called the mouth, bOllnded above and below by two edges, called the lips, which are made to sound by the wind, through a narrow fissure, flue, or windway, and which depend chiefly on the length or shortness of their bodiès for the gravity or acuteness of the sound they produce. Reed pipes or tongue pipes, are, ono the contrary, t.Dose which are made to sound through the medlUm of a mouthplece, furnished with an elastic plate of metal, and which do not de_ pend on the length of the tube (body) of the pipe, but on the size of the mouth-piece and the vibrations of the tongue, for the gravity or accuteness of the sound. Flue pipes are made partly of tin, metal, zinc, or wood. They are either open or stopped. Stopperl pipes are closed in at the upper end \\-ith a stopper (a cap on tin pipes,) a block. of wood well covered with leather at the bottom alld sides, to make the stopping quite sound, which makes the tone of the pipe softer and an octave lower than the pipe would produce without the stopper.

SIZE OF THE ORGAN STOPS. A stop is callcd an eight feet stop, if its lowcst tone, "C," (or largest pipe) is an open eight feet long pipe. A stop is called a four feet stop if its lowest "C," or the largest pipe i. an open pipe of four feet length. A stop of eight feet tone (such as the Stop Diapason) is a .stopped four feet stop. (Se e previous explanlltion.) A douhle stop (or otherwise and more appropriately called sixteen feet stop) sounds each note an octave lower than written. A thirty Iwo feet stop, then, Iwunds each note two 00tavei lower thllIl writtfm.

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MODERN SCHOOL FOR TRE

ORGA~.

portion of the Stop Diapason, and is seldom disposed otherwise than as an incomplete stop, it!! compass generally only extf'nding to middle C, or. at most, t.o wnor C. The Clara bella much resemblf's the German 5. Hohiflote (Hollow-flute), a vcry effecfi ve stop, made 01 wood or meta\. When of metal, the Hohlflote is mfide to a very large scale, thlls prodllcin!! a powerful amI thick. or, as the name distinctly intimates, a hollow ton6. It is made eight, or four feet long-. 6. Violfl di Gamha. The name of this, rnostly ei!!ht [l'et stop, has fOI' years heen introduced in this country; but tI) uur own knowlf'dge, and according to report, noi" yet. the real stop. noI' do Wl' expect a great demanrl for it, hecause the necessity of its being made of g"lJod tin must render it expensive. The for the Manuals are those oj eight feet, because they are in uni- voicing is very difficult and requires much labor and experience ,on with the human voice, and are therefore particularly re- -the least diIst on its tnouth, the least shaking may change its quired jor ~he accompaniment singing. For the Pedal, the tnne or silence it-nor are organists always capable or disposf:d l:1ixteen feet stops are the most useful, as they form the true to dl'monstrate ìts great beauties to the full extent j therpfore the Viola di Gamba may be considered a luxury-a charming bass to the manual eight feet stops. 'l'hl' eight feet stops on the manual and the sixteen on the I luxury for rich congregations. 7. Keraulophon is also a Mariual Stop of eight feet,of mapedal are calletl the Foundation-stops, as being the unison of tal, and, like the Gamba, of Il reedy and pleasing quality ol &heir respective departments, and giving the " ground-tone." Besides these, there are other distinctions made, such as Mu- tone. lt is a half stop, seI do m extending lower than fiddle G tation, Compound or Mixture stops, which, being of less ma- or tenor C. The Keraulophon \Vas invented by Messrs. GRAY & DAVISON, in 1845. terial importance, are only mentioned.* 8. Geigen Principal (Violin Diapason), is a Manual Stop 01 eignt feet, of great beauty and uSefulness. lt is flot yet known in this country, but will undoubtedly be introduced before long, and certairily becomell. great favorite with both playerll and hearen;;. 9. Salicional. or Salicet is another reedy-toned eight feet DESCRIPTION OF TRE ORGAN STOPS. manual stop of small scale. 10. Principal.-A four fet'tmanual stop, of metaI. It is 1. Open Diapason, is an eight feet sbp on the manuaI, and tne ootave stop to the Open Diapason. 'l'he clear tone of the a sixteen feet stop on the pedal. It is called " open" in cOn-' Principal makes it usefùl in Forte passages, and is for the sam" tradist.inction to the Stopped Diapason. From its being the reason the stop after which ali others are tuned. Clhif'f foundation-stop on the manual and the pedal, its goodIl. Fifteentlt.-A two feet manual stop of meta\. DeS8 or badriess exercises an important influence over the effeùt 12. Flute.-A stop of either fimr feet standard length or foot of the organ generally. The Manual-Open-Diapason is (or tonI' on the manual, and eight feet on the pedal (then cali ed ought to be) generalfy formed of tin, or rich metal pipes, many Flute Bass.*) The quality of the tone of a Flute stop usually of which are those usually seen in front of the case. The bears a close résemblance to that of the wind-instrument after lowest octave (or even more) is, in this country, madf' ofzinc- which it is nam~d. Theteis quite a variety of Flute-stops to Dot for the good quality of the tone, but for ecul1l11I1y's sake. be found in foreign organs, t some of exquisite beauty of efrect, 'l'hl' Pedal Open Diapason is, in Europe, made of wood or made of different material, shape, (round and square) and size tin ,t in this country, almost exclusively of zinc, which i8 very (from sixteen to two feet). They are: Tuba Majòr, a sixt6en mllch to be regretted, and the more to be condemned because feet Flute stop, made by E. }. WALKER'& WEIGLE. Wienerthere is no country that has so great a variety of most splendid fiate (Vienna fiute), eight feet, a solo stop of great beauty ; wood, at cheap prices, as America. Spitzfiate (Pointed or Spire fiute)" and Gemshorn are found 01 2. Stop Diapason.-The Manual Siop Diapason is mostly eight, four, and two feet length; Waldfiote (Forest fiute), ie made of wood; its effect, if well made, is fiuty and mellow; either of four or two feet length; HohlJlote (already menif poorly made, reedy and hoarse. The manner of dividing tibned) ; BI8Ck fiute, a two feet stlJp òf a very large scale) this stop in two half stops ('l'reble and Bass)is, except in Piccolo and the Flageolet are two feet stops, the former of ..cry small organs; very objectionable. To give in such a case bright, clear, and travellin~ tone.the latter of smaller scale lo the Treble a difl"erent name, is not only ridiculous, but also and sharper tone than the riccolo j lastly, the "rown of al\,-.uspicious. (See chapter on examining organs.) the Flute travers, which IS either of eight f}r four feet length. The Doublc Stop Diapason for the pedal, is universally made always made of wood. partly square and partly round. 'l'he of wood. Hs tone adds a quiet solidity to that of the Pedal pipes are made to speak partly the foot tone, partly, by overOpen Diapason. blowing (iiberblasen). the ootave above. 'l'he Ce~zstina is al so ~. Dulciana is an eight feet manual stop of a very soft chara species of Flute stops. acter of tone. Tt is madepartly of wood, partly of meta\. 13. Twelfth.-An open metal stop of two and two-thirds on The Dulciana, m most organs, stops at tenor C, or fiddle G ; the mannal; its pitch is a perfect(major) fifth ab:: ... ~ th:: Printh~ stop then frequently being grooved into the Stop Diapason, cipal, and can therefore only be drawn for 11 passages with or the bass of the Stop Diapason, is made to draw separately nearly all other stops. IO meet it. Cùmpound Stops have from two to five, in old organs even 4.. Clarabella is sometimes introduced instead of the treble as many as twenty different pipes to ore key. A cornpound 'l'he foregomg explanatlOn rf'fers to fiue pipes; but the le Igth of reed pipes is also modified by the outline and scale 01 the tube; the length increasing as the scale is enlarged or made to deviate from the cylindrical outline. A cylindrical reed, or Clarionet tube, is very short, beirig. little more than balf the speaking length. a Bassoon tube, slightly outspreading, rather longer; a Hautboe tube, with a wider bell, 10llger again ; a Trumpet, longer still: and a Trombone, or Possaun, the largest stop in the scale, also th~ largest tube used. The numerous effeets of which ali well-planned organs are suscepti ble, result parti y from the presence and use nC stops of diverse form, nature, and cbaracter of tonI', and partIy from Stops, varying as well in pitch as in quality of tonI', and other dist.inctive conditions. The most important and useful stops

or

~ '!hose Je~iring to read more on these matters, are referred to the works of Jlol,kins and Rimhanlt, And to SeideJ's, in the Gel'mlUl langllll!{e. t Tile ol'g"ns in St. Petl'1"8IJ\1rgh, Iteval, Frankful't, Olm, ali bllilt by E. F. .. ':kcr of Ludwigshul"g, have Pcda) DillpfJosoll~ (si~e!lp. feet) oC Rnglish tino

* As jet few, if any, in thi8 country; its great lùlity lInd chellpne88 w]J make its intro,luctioll verJ desirable and useful. t The names of some these fiutes have IIppe~red in reports oC organ ex· hibitions, and alwaya .pokell oC very hi{!;hly •

ur

•

MODERN SCHOOL FOR THE ORGAN.

9

25. Double Stopped Dzapason, likewise called Bm.mlon, 8 Rtop havmg three pipes to each key is cai.ed a stop oi three fllnks; having fOllr pipes to each key, a stop of fonr ranks. covered eight fel't stop of sixteen foot-tone, made of wood.. Well-planucd auti COBi'tructed compound stups gi\e to thr foun- Of late t.here has beell inlroduced a I hirty-two feet stop umler datimi SlOpS a distinctness and clt-arness of effect, and a great the name of Double Stopped Diapason, of sixleen feet length. vivacity as well as a ringing character to t... le genere! Jrgan- which,however. prinoipally in the lower notes is unintelligible and entirely useless, (in my opinion,) except for mere show. tone. They are: 26. Violon Bass, sixteen feet, is for the pedal the same as 14. The Mixture. the Viola di Gamba for tbe manual; but is made of wood. 15. The Ses or Sexquialtera. 27. Trombone, sixteen feet, a very essentia! pedaI stop, with16. The r:ornet. out which no organ can be cali ed " grand," by anybody having 17. The Furniture. Reed Stops.-A reed-pipe of an organ is formed of a mouth- ever Iistened to its soul-inspiring tones. 28. Violoncello, eight feet, variously made of wood or mepleoe, (composed of a block, reed, tongue, and a wooden wedge, with a tuning wire and boot) and a tube or body. Reeds thus tal, is an imitation of the we\l-known instrument, whose name formed are most common; in moùern organ-huilding the so- it bears. 29. Grand Double Open Diapason, Grand Subbass, or whatoall~d free reeds have been introduced. In the free reed, the size (lf thc ton!!ue and thc opening in the reed are so adjusted ever name mav be given, is, lastly, the so-cali ed thirty-twlJ in re.!{ard to ~ach other, that the former almost exactly fits the footer-a really' thirty-two feet open pedal stop, rareIy cf satislatter: lh~ ton~ue, therefore, instead (as is the case in com- factoryeffect, but XVhich organbuilders are as anxious to furnish mon n'ed:,;) of striking; on the edges of the reed, is impelled iu- as congregations are unwilling to pay for-and for t.his, l'oth to the optnillg by the Willd, when, from its own elastic:.ty, it re- parties have good reasons. In Europe it is made of wood. in this country it has been roade or zinco 8um~s its former position, and the sound is produoed by its rapid vibratory motion to nnd fro through the air. The tone ot a free reed is not so strong as that or a common reed, but it is particuIarly smooth and free from rattling. Some fine sixteen and thirty-two feet Posauns have been maàe in German y of free reeds. Thc most common reeds in our organs are: COMPASS OF TRE STOPS. 18. The Trumpet, eight feet. 19. The Hautboe, do. The lowest key of organs ought to be (and is mostly) C ; 20. The Trombone, eight feet in manual, sixteen feet in and organs built on that principle are called C-Organs. _Whepeda!. 21. The Clan:orlet, eight feet (or Cormorne, Cromorne, thcr the compass may be carried upwards farther than F (al Cremona, Krumm-horn). tissimo) matters very Iittle, since our best organ compositlOnll 22. The Clarion, four feet. seldom require even this high note, nor does the addition 01 23. The Voxhumana.-This stop is intended to represent one or more such useless smaIl pipes make much difference in the buman voiee, which, if it does it at all, does it Lut very the effect. [aintlv. ]t is of eight foot-tone. Taking the compass of the manuals as from CC to ~, The pf'dal stops are : 24. Double Open Diapason, or the Diapason of sixteen feet. (~our octaves and a half,) eaoh stop ought to have fifty-sIi This stop i~, in thif' country, made of zinc, in Europe mostly . plpes. of wood, alld very often of pure tino See the following TABLE OF THE PIPES (NOTES) OF THE ·OPEN DIAPASON.

Of this !'lame compass is the Stop flnly half the length, but because ol' top, thcy produce the same pitcn oC II! long. The Dulciana mostIy begins with

Diapason, its pipes being their being closed at +he tone as if they were twice the four feet C.

The Clarabella is seldom carried farther than the two feet C. The Hoh1:flOte, Viola di Gamha, Keraulophon, Hautboe, Trumpet, Cremona-alI these JORre the same fate witft th. Dulciana (at leapt in the !welll

MODERN SCROOL FOR TRE ORGAN.

IO

Principal, Flute, Clarian, ~re mostly complete stops, each baving fifty-six pipes, of whlCh the lowest C, 1=r~1l-B i. four feet long, the next C auove two feet, etc. E= - -

"+

The Fifteenth, Piccolo and Flageolet, are likewise complete atops; their lowest C,

f~--,--J is two feet long.

-

The Twelfth is also a :mplete stop; its lowest C,

1~~

__1

is only two feet and two-thirds long, and sounds

....

.-

the note

l@

J

~

Un striking the lowest C of a Mixture of three ranks, three different-tuned pipcs wilI be made to speak at once, tuned E~ The other compound stops are thus =( _ ~similarly arranged.*

;--=EJ -_r

"I

I

TRE COMPASS OF TRE PEDAL STOPS must, vf course, begin likewise with C. The Double Open Diapason's lowel';t note. .ounding an octave lower s~ill; its comp'ass, a,,; well as that of aIl other slxteen feet (double) .• tops is as foIlows :

~~~ _

-

II~ -=c~ I=r. -+-:t=~~~~---~ -.--+---+-y o:S

--I-

--,

-.-. . .,- --y...... -.;

--i--t--+ -

i

--1--+...........

-r.t...... u

I

I

-+-y...... ~ ..,

..t '"

..

J N OTE.-Every Pedal Organ ought to bave at least one stop or tbis pitcb and .ompass; balf Pedals, and more so, Pedals beginning with G or any other note fut C, are a vexation to ali players and an ubstacle in the way uf young 01'ganists to becolJle good pedal plaJcrs. Why should the note C, nnivel'sally acceptcd as foundation note, not also be thc lowest note, both in Manual and Pedall

The tone o( the C of sixteen feet length is in unison with the lowest C of the Grand Piano Forte; it is the CCC of the English tablature-the Contra C of the German. The effect of a thirty-two feet stop is one octave lower stilI than the above. The sound of its lowest C is below that of any other instrument, and is signified in letters by ccec, (the German term for it is Double Contra C.) .

ON EXAMINING ORGANS. lIistory has too clearly demomtrated that "good organs wiIl makll good organists, and, vice versa, that good oro-anists will make (or at least use their influence to have mad~) o-ood organs. 'l'his fact is too important to allow us to pass 'l'his mat!er over in silence. much less can the tE'nor of the folIowinojnes be consldered an assumption. The venerable Dr. L. Maso;' • A work on organs and organ-bnilding in process of preparation will throw m01'e light on thi. vel'y intel'esting as well as other eubjecta. which in this work tou1d only be shortly mentioned. • Upper keys included.

convinced of the usefulness oi instruction on this sllhjert, ha~ already, some years ago, requestcd us to makc a few eXfJos;IIO/lS reo-ardino- it, in a former work ; and si!'!ce that tirnE', Wl" haI'<' be~n so thoroughly disgusted with the" farce" 01' or!!all-('xlllbitions, that we, at the risk of hecl)min~ unpopular witb ~orn· parti es, cannot conscielltiously withhold our views on t hE' SIlI.· ject. Good organ-builders wiII reJoice therehy to spe the tri('k~ of incompetent competitors exposed-congregations aud orgl?nists may learn thereby, how to secure for themselves 'really o-ood orO'ans, and wiU better understand the necessity to fllrnist. ~dequat~ means to enable the builders to build organs which wilI do lasting honor to them, and answer hest the purpose. Before speaking of examining organs, it wilI he essential to make a few remarks on the equaJly important point of" purchasing" an organo The size of t.he church, thc style of building, the style 01 singing, and the position of the organ :-,"ithi~ the church.--all this ought to be submitted to the conslJeratlOn of the bUI!der, or some competent party, to determille tbe amollut of mOTIPy requireJ for the new instrument. Il would be desirable t.o select the builder before drawing a pIan for the DI'gan, as differel1 t makers furnish different qualities of manufacture . . This beino- done, a clearly specified pIan for the instrument in question ~ust be made out, enumerating not only the number of stops, but the number of pipes of each stop, defini ng the material, the length of the lowest pipe. the number of ad· ditional drawstops, compass of pedals and of manuals, etc. Sucli plans, thus clearly specifiE'd. ou~ht to be given to the diffE'rE'n. organbuilders, aud awarded with the understanding, that tbe organ would not only be exhibited, but examined by any competent party or parties the congregation might please to calI for it . To examine an organ built after such a plan as descrihed, wiII, however, require more care and more" knowing" than to play at its exhibition some splendid piece of rnusic, alld this don e, to declare the organ to be" the best instrument ever built," or something like it. It wilI he necessary to creep insidI" the organto ascertain: 1. Whether t.he pipes are reaIIy all there and made of the stipulated material and size; ~. Whether the beIlows furnish enough and a st.eady wind during aH styles of playing; 3. Whether there is easy acoess to alZ parts of the organ:«< to the pipe s, t.o tu ne them-to :he actioll (principally the cOllplers) to corrE'ct sli.ght dt>rangements. without heing put to Ihe necessitv òf working one or two day'! in getting, for example, at a sere w, to set it mE'rt'ly ari.g·ht; 4. Whether the organ is tunE'd in the right pitch ;t 5. Wbetht'f alI pipes are carefully fastened, so as to prevent a very annoying rattIing from time to time ; 6. Whether the meta! pipes arE' not too thin, and whether the wooJen pipes are provjdpd with a coat of size inside. Besides these, there are many othe! little matters to be looked after, too nùmerous to mentiOi here. . The following schedule wilI illustrate and more fulIy explaill our view on this subject.

PLAN OF A NEW ORGAN OF TEN SOUNDING STOPS, The organ is to have a plain case of • . . . • . wood, •. fept high, •• feet wide. and -=- . feet deep. It is to have one Manual Compass, from CC to G (altissimo) or 56 keys ;-a Pedal from CCC to C, or 25 notes. * Imperfection in this p ..int compels congregRtions ton ,ften to cmplov HD o1'ganbuilder for the most trifling derangemcllts, which. conld accesa to (t b6 bad, might be remedied by the organist without causing expense' to th, churcb . t Of more importnnee thall ii generallf attacbed k it.

Il

MODERN SCHOOL FOR THE ORGAN.

supporter of a11 Church singing, be Jifferently dispose.1. Or gans to accompany congregational singing, must needs have l. Open Diapason, eight feet, of tin, lowest octave of zinc, mellow, rich, and deep-toned foundation stops, and above any of these, the Diapasons must Tlot be wanting. Next in irr. 56 pipps. portance are the sixteen ff'et Pedal stops, which must be in 2. Stop Diapason, cight feet tone, of wood, 56 pipes. 3. Dulciana, !'ight feet, beginning with Tenor C, 44 pipes, telligibly voiced, strong enough to gi ve the ground tone of the to bI' made of metal, and to be groved in with Stop Diapasun harmony, but their power must be sought for by their pro per constructron alld number, not by over forcing their supply 0# in the lowest octave. wind, which produces a trembling alI over the house, and 4. Pr ncipli I, fonr feet, of metfil, 56 pip~s. which is too often a cause of dissatisfactioll with congreg. 5. FIutI', four feet. oi wood, 56 pipes. tions. 6. Fifteenth, two feet, of metal, 56 pipes. M utation and compound* stops, as also theReeds, must be 7. Twelfth, two feet and two-thirds, of metal, fifty-six in proper keeping with the foundation stops-rich, mellow, ',1pt's. proportioned of a large scale. After this brief expositioll 01 8. Sesquialtera, two feet, two ranks, 112 pipes the character of organs for congregational singing, we 'may be spared any remarks on organs for Quartett singing. PEDAL STOPS. STOPS ON MANUAL

9. Violonbass, sixteen feet, of wood, 25 pipes. ] O. Double Stop Diapason (or sub-bass), sixteen feet tone, l5 pipes. DRAWSTOPS.

Couplers:-Manual and Pedal; Pedal Check; Bellows alarm; Composition Pedal to take away Stops N oso 6, 7, and 8. Stipulations n~garding pitch, gener~l character of voicinO', whether action to be reversed, whether key-board to be e~­ tended or llOt, alld the quality of tin and metal to be used for the differellt st(lpS, should be added to the above description of the stops.

COUNTRY

A~D

CrTY ORGANS.

There can, anel there ought to he no difference made in this

resp~ct, ~nd it is only ~n orle department there can be any dis-

crmllllatl,on; namely, m reference to H.eed stops , which , beinO' '" so very hahl,' to get out of tune and order ouO'ht to b~ but 5pa~ingly put in. country organs, where 110 co~pet~nt hands for tumng and vOlcm~ can be fuund, unless by great sacrifice of money. 'J'hese ~eeds, being moreover the most expensive stops of all, we would suggest to have their places filled with good flue stops. City organs may nuve, and, in fact, never have too few l{eeds-but how is it that these Reeds can most always be heard above everything else, and why are they so aften so outrageously aut of tune? \'V ould it not be well for tI.e organist to have the Reeds tuned, or tune them himself, (which every organist ought to be able to do), before usinO' \hem in the service, or else let them alone 1

ORGAN-TOUCH. The organ-tollch is generally said to be the reverse or, or Ilt least entirely different from, the piano-touch; which, however, as far as the tùuch (or the mannf'r of striking the keys) is con cerned, is not the case. The key" in piano as well as orlTan playing, ha ve to be struck sudden!y and decidedly j there i~ no such thing as pressing down, if by pressing ally lesser deO're. of velocitr i.n getting the keys down is meant. A pro~pt, sudden stnkmg of the organ-keys cannot produce a piano-likG effect of the organ, but will insure a prompt speakinO' of the pipes (especially of the Reeds), effected by the prompt open ing of the valves, giving to the pipes at once their full supply and strength of wind. It is, therefore, not so much the man ner of striking or toucbing the keys, which makf's a go od or gan-touch, but rather the manner of taking the fingers off tht keys, or the perfect control of the player over his fi!'!gers: 1st. ~n holding each not,e to its full value ot time; alld 2nd, in plav mg passages of smgle notes, as welI of chords, in such • smooth legato style, that one note follows the other without an'y interruption of sound, just. as in walking, one foot is not ralsed until the other reaches terra firma. A proper lerrat".. playing will insure a good organ-like effect; and a st~dent who has gained so much control over his fingcrs as to raise them at the right moment, has conquered the tme organ-toucn. A. th?7"Ough practice of the ex~rci5es commencllIg on page 15 w111 msure to every student thls needful acquirement.

l:)

STYLE, ORGANS FOR DIFFERENT DEN01tlINATIONS i

LEGATO AN"D STACCATO-PLAYING.

Ir, ae mu~h as cOTlgreJ;ational singing* is different from tbe ?inl-;'wg' of a Quartett Choir, or even an ordinary Chorus Choir, 'n JIlSt a~ much must the volume of the organ, as harmonic

The style of òrgan-playing is generally required to be " le gato," but there are instances when a complete "staccato playing" wiU be more expedient. Attempts at staccato-play mg. however, should not be made untiI the student is tho roughly conversant wit~ legato-playing. Regard to the we.l being of the or~ans. if nothinO' else, forbids the execution o( continued passages like the folÌowing :

• '1he Rutnor il a zealous advocate oC congregational singing not however ~ tbc cntire exclusion oC choir singing. " ,

• "fe object to .the us~ o~ compound stop, Cor accompanimf uta ha gene even ID coogregatlOoal slngmg

OR,

DIFFERE~T

STYLES OF SINGING.

!Il.

12

.MODERN SCROOL FOR TRE ORGAN.

i

~~.. IJ I!

2

•

'g-.=c= =t-----Ili·

-~ i ~ ~----.--=t:-f=i-----".. .-J q--t=1-----t •. ---+e .-.-'"l-+.-.-...... I\~+t::.-.~Jt.-.::u: , ---,--===l=- - -=--~-::tt ~ r~ ------------.-t!l-..,-DI'

.....

..a..

. . . .---.. .

t-~-~L

,

I

,

,

•

,

......

7

- ... - - - - - - h ..... --.,-!$I------

-r""

l1

i-l f---..,;--I------- ,

---=r::-----------,

--

•

• lOr, a prolonged passage like No.1. will unavoidabIy affect the tuning of some pipl's-will not unfrequently cause many pipes t.o " blow over," and put the bellows to a rathPr too severe test of their durability. Passages similar to No.2., while producmg the same effects on the instrument, will produce in many tTgans !l most pitiful effect by the trembling of the notes ot the alf, caused by the shaking of the wind. Specimens of the admissibie staccato.pIaying will be found on pages 28, 3 I, 162, 178. 'l'he desire to pIay legato, or, as it is more generally called, .. to play in go od organ-style," has misied a large majority of organists (or rather those playing on organs), to do too much to be good. According to very generally prevailing notions, an organist seems never to be permil,ted to strike the same chord, or even the same note twice in immediate succession. This undoubtedl y wrong conception is not only confined to playing Psalmody, but is even applied to music for the organ, composed by mastl'rs. What would become of ali the soul-inspiring sinfonies of Beethoven, should e\'ery instrument of the orchestra, capable of sustaining its tones, adopt the same principIe? What would become of the agitating theme in Beethovcn's C minor sinfoni:.

li--T==g ff-EJ ..... Il the instrumentalists shouId deem it in better taste to play .

EE ~ 1 =EE~-·-·---3=)

-.-

The Yery lifl' and souI of music depends on its rhythm. which by this misunderstood style, must in all cases be rendered doubtful, and mostly vanish entirely. Therefore, young student, play your organ music just as written; pIay, for exampIe, the tune

'Thill IS Cflltainly too much of the goad thin cr " leO'ato." But, while we recommend every notl' of the ~ir to'"'be struck, ,.~ thi.ll.. ;t emlT,ently ~ood t9 !llur other parts of the harmony,

"GoD

SAVE

TRE KING,"

not thus :

--r--::::r: I~1f-~I:·~-=:/l ---

:t:·=~:~t-Ib=~ ~. II --+--

+------+7-

~~-

+--~-

-f----

!;f-+--

but as written ; namely:

llIR

Et~ ;=ilt~=g~~=~~~1 PSALl\fODY

A.,

TRE

GIVING

PLAYI~G.

OUT OF

A

TUNE.

The ohject of the organ playing the tunc ,to be sung once over, is, 1st., to give the pitch; 2nd, to give the movement,and, 3rd., (in con!!regational singing), to bring the melody to the co,g-nizance of the congregation. It is obvious, that to achieve ali this, the player must hl' careflll in playing, and use proper judgment in the combination of the stops. At ali times it is materiai to be understood : both harmony and melody must hl' nmderf:d intellig'ihly, every note of the meIody must be distinctly auùihle. so much so, that even persons without musical education must be enabled to follow the air as it strikes syllahll' aftl'r syllahle. Tbe misunderstood notion therefore of legato st)'le (see preceeding chapter), is most emphlltically bad in ",g-ivingout a tune ;" and yet, it seems to hl' so glmeral1y regarded as the " true organ style," that. youlIg organists, aft.er hearing us, come up, wondering to hear us play so " much staccato!" 'l'o be flllly understood, we give here, by way oC practical illustration, the tune .. Federal Street," as we have heard it more than once:

principally the alto and tenor; and we givliJ here the ahovE tune as it ought to be played when given out: I

MODERN SCHOOL FOR TRE ORGAN

13

•

The above remarks refer to the playing of the tunes on one Ilud the same keyboard, without change of stops during the playing. 'l'he frequent change of stops or eyen ke~boards is, good as it may be, in some few instances, too onen made use of. A dignified, clear rendering of a tune with foundation stops will always be best for religious purposes. There is a manner of giving out the tune to be mentioned l'et, which we commend to all organists having Pedal Organs

Great Organ: with Open and Stop Diapason.

of two or more manuals, which renders the air prominent aboV\J every other parto It is effected by playing the air (meIOlly) with the rig-ht hand on the Great Organ, alto and tenor with the left hand on the SweIl, and bass on the Pedal. 'l'unps like " Hamburg," " Balerma," etc., will be charmingly relldered by this manner, and well pay the time neccssary to learn it (which is not very easy).

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PSALMODY PLAYING. B.,

TO CHOIR AND CONGREGATIONAL SINGING.

(Acco m paniments.) A good nccompanist must be a go od musician in the full sense 01 the word; for, althouS1,'h the accompaniment is frequently considered a very inferior part of performance, y~t, in order to accompany well, one must understand and enter m the spirit of the composition-must be able to follow closely the solo singer (or singers)-must know and control ali the resources of his instrument, and be ever ready to step in should chorus or solo singers show any signs of wavering;.- The office of the organ is not to lead the choir singing, but to support it,t and the numher of stops drawn mllst be in proportion with the strength of the choir. In single Qllartett singing, the Stop Diapason or Dlllciana will do f
heretofore, in most congreg-ational singing books, been grpatly underrated; and We do not hesitate to say, that the idpà of the choir (as good and as la.rge as it may be) to give adeqllate harmonic sllpport to a singin~ cong-regation, sllpported by a small (or large but sharp and squeaking) or~an, or eVfn an OrganHarmonillm, will never be realized. The failllre of attempts at con~regational sing-ing may, in most inst.anaes, he traced back to this circllmstance. It is the mellow, yet rich harmony of Diapasons and other foundat.ion st.ops, Silppl ;teù Ly a good, powerful Pedal Bass, which will furnish that amollnt of harmony so necessary to encourage unskilled ,singers in thelr first efforts at lltterance of their religiolls feelings tbrollgh the singing of their Psalms and Hymns. Let a good Choir be II.dded to a good organ well playt'd, and yOll will have ali that is needful-bllt in Ollr consideration, the organ stands foremost. A go od org-an well-played, with a few go od leading- voices to sing the air, will do the work, whereas the same leading voices with a powerful choir, and with none or insufficient instrumental support, will never do it, llnless ali good voices in the congregation are taken in the choir; bllt then the singing can not properIy be called " congregational." Reed stops ollght, as a generaI mIe, not to he used for aocompaniments, and had better be spared for extraordinary effects. Compollnd stops should never be drawn for singing. The Pedal ShOllld be used discriminatingly; the constant use of it must weaken its effect. In conclllsion we recommend for consideration the n es (given in a former chapter), to play correctlv, and ti, st: kt every note.

MODERN SCHOOL FOR THE ORGAN.

•4

ON PLAYING CRORDS.

OF TRE INTERLUnE.

The org-an il justl . ..:.alled the king of alI instruments. for not only is it the mightiest in effect, but it emhodies the effects of most ali inst.ruments an orchestra is composed uf-princip~lIy the wind instruments. From this fact already, it may be mferred that the harmuny must be rendered in such a manner as to produce the same nicety of effect as if executed by a well-drilled band or orchestra. The often-heard-of style· of breaking every chord into as many notes as the chord comprises (arpeg!;\"io-playing) is, as a generaI mode, in exceedinaly Lad taste. U nion gi ves strength! Therefore let ali partso of the chords, from the lowest to the highest note, ring out simultalleously. We pity ali choirs accompanied in such style, and wonder how they can sing in good time !

Interludes are short, simple, musical sentences, thro\ n le. tween two verses of a Hymn or Psalm tune. Intelludes oug~ not to exceed eight measures, nor be shorter than fOIl r mt-a sures, generally speaking. They serve as a connecting lit.k between the two verses, and ought to be in pro per keeping wit~ the sentiment expresst'd by the Hymn-generally and espeClally with the nl'xt proceeding stanza. 'l'he interlude m'lst unavoidably be in the same movement and time species of the tune being sung, and is mostly (al,d properly so) played with somewhat soft stops.

ON VOLUNTARIES. A.

TRE OPENING VOLUNTARY OR PRELUDIO.

It is costumary for the organist to begin the opening voluntary as soon as the minister enters the church. and pursue his srbject during the short time that plapses while the conarl'aalion are entering. This introductory voluntary is SUPI"'~ldOto be of such charactl'r as to prepare the minds of the conaregation for tI.e sermon to come: and the oraanist, theref~re, ought to be timely advised of what he is expe~ted to prepare. If this cannot be done, the opening voluntary should be in a grave and solemn style. abounding in full. close-wrought harmony, Imd inspiring a feeling of reverential awe. The kind of pieces best suited for this purpose are short Diapason-pieces, 011 the Great or Choir Organo The too frequent use of the see-saw swell playing. the introducing of scraps of ltalian Operatic melodies, tending to bring the mind of the people rather to scenes of worldly enjoyments and pleasures than to awaken a religious feeling-such voluntaries cannot be con~kmned too much, it seems to us, being nothing worse than as If t~e prcacher would stand up reading novels to his congreg'utlOn

B

TRE CONCLUDING VOLUNTARY OR POSTLUDIO.

Although there may he more al10wance made to Il free styll'. yet the marching.. or dancing out of the congregation will hardly find any excuse with people impressed with a go od sermon. The organist may, as a generaI thing. show off the full power and effects of the instrument he presides over, but there' may be, and there are occasions when a 80ft conciuding voluntary is more appropriate. For the display of the power of the instl Ulnent, the masterly fue-ues of Handel, J. S. Bach, Graun, Rink, :Schneider. Hesse, and others, are eminentIy adapteJ.

•

HOW TO TAlE CARE OF ORGANS.

·..I0~ .>Are page

72

To protect Organs against the destructive influence ot dameness and dust, to prevent exposure to strong draft of air, to avoid shaking of their foundation, (which is too often not strong e!10u:rh,) and wh?I~ frame, these are means of good preservatlOn of organs wltllln the control of every congreg-ation, and the organ ought to be l'laced at the oul set, so as not to suffer from any of the above eviis. How to keep off the d ust as much as p~ssibl~, we may be spared to explain, but Wl' must remark, that l? ~plte of the utmost ~are, orgalls will become so dl.!;;ty as to InjlJl"e the tone of the plpes, and thus materially weaken the effect of the whole instrument, and it will therefore be necessary to bave the whole organ thoroughly cleaned, after a period of from five to six years, which, however, can only be done by a competent organ builder. Players must be careful not to loose hold of the Swell-pedal. for the sudden e1osinO' of thft Swell \\ill shake the whole organ, and destroy the &ninO' of thc reeds, if nothing more. '" So~e co?plers are so constructe.d as not to permit theiJ drawIng whlle keys are being held down, and it is in most inEtimces advisable, when drawing the couplers, to take the hand off the keys for the momento ' Next to dampness, dust and ti me, it IS often the blower who is thc greatest destroyer of Organs, and We deem it iII calcu lated economy to ernploy small boys, bodily too weak, alld in too many instances,too unreliable to work the bellows even aud steadily. But; since in spite of the utmost care, instruments of such complicated struc!ure u:ill get out.of order-Heed, stopped, and even metal plpes wlll want tumna-the action will need regulating - pipes will become l~ose and be raUlinO' leakages in windchests and bellows will occur-how to re;~ edy al1 this, .and reme?y it ~ell? we have no l'oom to say, Dor would descnptlOn do It full ]l1stlCe. We therefore conclude these chapters Ly stating our readiness to give all needful ad. vice t? auy part.y desiring it, and by recommending to young organlsts to avall themselves of every opportunity to study th. mechanism of their Instrument.

l\IODERN SCHOOL FOR TRE

ORGA~:

TRE lCQUIREMENT OF TRE ORGIN-TOUCH. EXERCISES ON FIVE NOTES FOR LEGATO-PLAYING. Thf'3e (Xer~ises should be practiced: first with eaeh hand I1lonf', alld afterwards with both hands together; beginning slowiy, and by degrees increasing the movement ; but above everything, care must be taken to strike the keys

energetically, and to raise the fing-ers at the ri~ht moment Unrelentin~ practice of all has to accompany these, as, indeed, aH following exercises.

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'" PLAYING OF TBREE PARTS. Refore giving pieces in three-part-playing, it will be well to practise the following exercises, which are calculated to render the fingers independent of each other. They must, of course. be practised with increasing velocity, as the capacity of the fingers wiU permit-and be, at aU events, thoroughly practised. In three-part-playing. the right hand must frequently play two parts, and the left hand the bass alone-but very often the reverse is the case, either dictated by the composer's will or by the greater facility obtained by playing the middle part with the left hand instead of the right hand.

Composers are generally not as careful in placing their notes on the stave as they ought to be, in order to see instantly which hand may perform it best; the performer, therefore, must, in this respect, consult his own com"enience. A pro per and quick discrimination how to divide the notes of chords (principally in dispersed harmony) is very important, inasmuch as it is a very essential help to the " reading at first sight," and indispensable to give smoothness to the playmg.

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FINGERING :-A.;sreat "Desideratum" in organ-playing is the velocity and ease in changing one or more fingers on the same key or keys without striking the keyanew. Thi.s mode Qf fingering is sometimes cali ed "fing-ering by substit,ution." While the importance 01 this mode of fingering. (so vcry mdispensable for the smoothness of playing harmony,) can

77. •

Right hand.

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hardly be overrated, we have met players keeping themsehes in perpetuaI discomfort,and uncertainty in their fingering by a ceaseless, everlasting, but useless changing ol fin!!crs. Tbe changing of fingers on the same key is mdicated bv a slur over the figures pointing out the fingers making the change.

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of legato, as, for example, Zeuner's "Mis<:io'larv I mitting Chant;" whereas tunes of a f1owing, tender cast, iuch as

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PL!fING or rOUR P!RTS may, lik l four-part harmony, be divided into close and dispersed playing. While the former is considered easier, and, (because it enables the playerto double his Bass notes,) more adapted to Melodeons or Organs without pedals, the latter is far preferable for its solemnity, and, if supported by the deep pedal notes, for its grandeur. In cIo se Harmony the righthand generally pays the parts of the Treble, Alto,and Tenor, leaving to the left 'hand tbe Bass, which is often doubled to compensate for the want of a Pedal-Bass. In dispersed Harmony the right hand plays the part of tbe Treble and Alto, the left hand taking Tenor and Bass. In many instances Bass and Tenor are too distant from eaoh other, in which case tbe right hand takes the Tenor, or the Bass is played " obligato " by the Pedalo Everywhere, in common Psalmodyand Organ music, close and dispersed chords are mingled together, and composers will

write their music, regardless of the convenience of pelfoLllers leaving it to them to find out with which hand to reaoh mOlt oonveniently tbe notes,of tbe middIe parts, which il! in many instances of more vital importance than iii often attached to it. , Example oj Close Harmony, tM right hand playing Treble, Alto, and . Tenor.. left /land tM Bass,

The same Exerciae in dispersed Harm01ly .. right hand playiny T;eble and .Alto.. left hand Tenor and Ba&s.

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the 10ft hand doubles tbe Bass.

At the Bass note is l'ither to be played " obligato" by the Pedal, 01 Illse it must be played by the left hand an ootave nigher.

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On organs without Pedals, the chords after;': may also be played as printed out at o or, in other word s, by changing dispersed harmony to close harmony. . There is no instance, therefore, to warrllnt the omission of FY part (interval) of Chords. whioh is so often done in

Psalmody playing, under the pIea of tbe impossibility to reach all notes. The following short Voluntaries will, it is confidentlv expected, present no insurmountable difficulties to the student; and if tbey, nevertheless, should. we draw the conclusion that the preceding exercises have not been sufficiently practised. Open Diapason Ilnd Stop Diapason, with Principal or Flute, are the stops best suited for alI pieces, those witb special directions excepted.

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GRitE NOTES iNB EMBELLISBMENTS. Embellishments of alI kinds ought to be but sparingly used in Organ playing. Dignified simplicity is best becoming to the house of the Lord, and even to the Organ as an instrument, without reference to its office. Voluntaries interlarded with Turns and Trills are too apt to convey worldly thoughts and feelings : but to disfigure Psalmod y with ornaments of a secular and trivial character is perfectly unjustifiable.:j: In the concluding voluntary the organist has more Iatitude

for the display of his skill, as it is not req~ired to be of so serious a character as the preceding portion of the servi ce. The most frequent embellishments are the Appoggiatura. the Turn, and the Trill. or Shake. The long Appoggiatura is a grace note placed above or below a principal note, borrowing one half of the value of the principal Ilote. (see ex. 1) or more, (eee ex. 2) before which it is placed.

While in the long Appoggiatura the accent is transferred from . .he principal note to the grace note, the short Appoggiatura .: eaves the accent on the principal note, the grace-note being played as quick as possible before the principal note.

The double Appoggiatura is played like the short one, immediately and very shortly preeeding the principal note, the Iatter being accentuated.

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Arpeggio, or playing in broken chords, if juilicionsly intro3uced, belongs to the category of embellishments. The Bign for Arpeggio playing is a serpentine line along the chords to be played arpeggio. Beginning with the lowest note ofthe enord, the other notes follow in rapid succession, as shown bv examples l and 2.

secondarI} note, which, though not written, i8 under8tood to

be the next note above the priTlcipal note, according to the scale of the piece. Whether the trill is to commeno.a with the principal (see ex. a) or with the secondary note (see ex. b) depends on circumstances; yet it is the secondary note with which tri1ls are most generally oommenced. If time permits, the trill cloaes as shown at example e. Such ending of a trill is mostly indicated by composers as will be seen in ex' ampie d. The trill (e) is caUed a componnd trillo -

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In brilliant Allegro pieces (for concert purposes) the arpeggios. as shown by example 3, may be more appropriate. whereas the arpeggio at figure 4, seema to be bettel' for AdagiOJl

•

TRE MODERN

S CROOL FOR TRE ORGAN. •

PART II.

PEDAL PLAYING. The Pedal is first mentioned A. D. 1470, as an improvement invented by Bernhard, a German organist at the Court of the :Doge of Venice. Bemhard's Pedal had but eight keys, C, D, E, F, G, A, B. C, and it was nothing more than a connection of the Pedal keys with the lowest octave of the Manual, there being no seperate pipes for the Pedal keys. Since that time the improvements and enlargement of the Pedal have kept equal pace with those of the whole instrument, and we possess, now, Organs with as manyas ten complete Pedal Stops or two octaves compass.- The ill-advised economy of having either Pedals of a lesser compass than two octaves, sometimes beginning with C, sometimes with G, (C and G pedals,) or of having for Organs of two, or even three Manuals only one Pedal Stop, likewise the different dimensions of the Pedal keys, and their relative distance from each other, (Scale of the Pedal,) furthermore, the too frequent use of the Swell, alI this has been heretofore detrimental to the progress in Pedal playing, and we sincerely wish it might change for the better more generally than has heretofore been our lot to observe. On treating on Pedal playing, it may be necessary to premise some remarks on the construction of the Pedals, and -TlIe Organ in Tremont TempIe, Boston.

height of the seat for the player. The keys ought to be made of hard wood, (upper of a different color from the lower,) nearly an inch broad, the edge sufficiently rounded off to admit sliding from one key to another. The height of the seat naturally depends upon the size of the player. Seats, therefore, ought to be constructed with a view of changing their height at any time. The proper height of a seat will enable the player to strike any Pedai key with his heels without being compelled to move his body either to the right or to the left. An extension of three feet eight inches will make a good scale for a Pedal-board o{ two octaves. • The Exercises and Voluntaries of the second Pfllt of this work are calculated for organs with one or two Manuals and C Pedals of two octaves compasso EXPLANATION OF ABBREVJATIONs.

Gr. Org. or Gt. Org. in pIace of Great Organo Sw. " " U Swell Organo Ch. " " " Choir Organo Either of these letters (Gr. Org., Sw., Ch.,) placed between upper and lower Staves, directs the player to pIa y with both hands on the Key-board marked. lE placed either below or above a Stave, the letters have reference only to the stave. they are placed UpOD.

•

74

MODERN SCROOL FOR TRE ORGAN.

The compass of a complete Pedal-board, is considered to be twenty-seven notes, from CCC to D, (SeliVemarks on the suhject in part I.) The true tone of the Pedal-Organ, is (when sixteen-feet, or so calI ed double stops are drawn,) an octave lower than the notation used. (See p. lO.) If eight-feet stops are added, the pedal sounds, in addition to the lower octave, the true tone of the notation. If four-feet stops are added, the pedal wil1 sound three octaves above each other.

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therefore, with a double, or sixteen-feet stop E:'A~:~~~3~ drawn, will sound =1

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adding an eight-feet stop, it will sound

dding a four-feet stop, it wiIl sound

very well know, but, although we do not object to it, we do not pretend to give any directions concerning it. 'l'o do thllt well, is master-work. The chief difficulty presented to those who study the organ, is the acquirement of the Pedal-Obligato; and as the separate and independent use of the pedal is one of the great char acteristics of the Organ,(the deep pedal notes making- it, morE' than anything else, the king of al1 instruments,)it has been considered best to 'combine the use of the manuals throughout the following exercises, in order that the student may be accustomed from the first, to the proper mode of playing the Organo There are two ways of playing the pedal; first, by the toes only, of each foot; second, by the alternate use of the toe and heel of each foot upon different notes. We recommend the second mode as by far the most expedient, in generaI, and in .particular for American organ ;players, who are often d~prived of the use of the rig-ht foot by its being eh-o gagea in working the Swell f thus leaving alI pedal pl!l-ying t<.. the left foot only. 'l'he exercises for this mode of playing the Pedal, (with the left foot only,) are an entirely new feature in this work, ancl. will be a great help to young students.

Letter L~enotes toe of left foot, " R " "right foot, The use of four and two feet stops on the pedal is onlY'ad" Lh " heel of left foot, missable in playing full organ, that through such combina" Rh" "right foot. tions, peculiar effects may be produced in concert playing, we . The sliding from' one key to another. is indicated by a dash: (-) -61-

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MODERN SCHOOL FOR THE ORGAN. lt is sometimes necessary to change the feet on tbe same [ rise, (see example 71.) or by striking the same key n i ome l.t ,. This can be done in two different ways; first, by sub- diate succession, changing the feet, (see example 72., .tl tuting one foot for the other without pèrmitting tbe key to

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EXERCISES FOR TRE ALTERNATE USE OF TRE TOES AND HEELS. , Note a.-Experience has taught us, that for the sake of I Note b.-To employ the heel of the left foot in the upper the organs, the heel ought not, in the first instance, to be used I octave, or the heel of the right foot in the lower octave, is too frequently, and when used, great care ought to be taken considered impracticable. lo properly moderate the stroke given to the keys, which is Note c.-Letters Lh, signify left hèel; letters Rh, sigmfy right heel ; letters L and R signify as heretofore, toe of left or apt to be heavier than most pedal actions 'will endure. right foot. .

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Sliding may be done from any key to another, but is most· admissible from an upper to a lower key. The mark for sliding is aline (--).

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The following Trios* will, if properly practiced, acquaint tbe studon t ",.ith playing the pedal "Obligato." The right hand plays thc llpper part, the left hand tbe middle part, and' the basa is ItIayed on

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tbe pedal. Stops, for the manuale onght to be only eight-feet flue . stops, (Op. Diap. and St. Diap.) , for thepedal, a sixteen-feet, alld,(it ,there be one)an eight-feet stop j or pedai and mannal coupled together.

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It V\'ill be observed that the sliding and changing 'roe and Reel OD the slUIle key, has to be taken advantage of very frequentIyin order to render the passages as smooth as pos.ble. Before Ieaving the subject, however, we repeat the remark. that by impartmg instruction how to pIay Pedal and Swell to~ether. we
use of the Swell, -=::::::::::=- pIaying. ProperIy and discriminatingIy employed, the crescendo of a swell is deIightfuI, but it becomes a perfect nuisance with plavers who wmk it wi1h as mlloh zeal as is bestowed by a good· housewife OD a sew ing machine. -

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MODERN SCHOOL FOR THE ORGAN. ON OCTAVE PLAYING.

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ON TRE SRAKE. Pedal ahakes have to be made by the Toes of both fèet. To admit the performance of a 8hake, the Pedal action must needa be v.ery strong and prompt. À good effect on the lower notes of the Pedals is, as far as the Double Stops are concerne d, almollt out of the questiono 'J'hat a Shake on the Pedal is to be executed with lesser rapidity than on the Piano or Violin, we need scaroely mention.

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The following piece!l have been composed and carefully se-l leded with a view to practical usefulness (as opening voluntarles), and to a pleasing study. Remarks as to the proper mode of fingering, etc., are hp.nceforth mostly omitted, because, we presume that the student is now far enough advanced to

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attend to it himself.· The majority of the piecu in tte ~tI part are calculated for Organs with two Manllals, flut rnay be made to produce a good effect oy always aùdiog- cne or t,,·o more stops to the passages for tbe Great Org-an, wheo played 00 Organs with one Manual.

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OPENING VOLUNTARIES OF A MOURNFUL CHARACTER.

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· SCHOOL FOR THE ORGAN: . P AR'T III. t

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COPIOUSCHOICE OF ORGAN COMPOSITIONS, CAREFULLY SELECTEnFROMTHE '

THE WHOLEADtPTEDIfO 'lMERIU1N :&RG1NS iND TIE\V1NTS'OF tHRW1N DRGilNISTS,

FOR DIVINE SERVICE,PllIV'1TEPRICTIVEIND "UONtJERTS•

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COMBINATION OF STOPS.

•

We suppose that every student has made sufficient progress in the study of mathematics to know that an Organ of 29 Stops, offers 'inexhaustible resources for combinations. We suppose, further; that every student would reject Il vast majority of a11 these possible combinations, as too unmusical to be listened to-but we ha ve also reason to suppose that not a fe\\' of our young friends are unaware of t.he importance and great utility of this branch in the art of Organ-playing; yea, e\:en otherwise most competent teachers and authors of methods for the organ have neglected to give that degree of attention to this suhject it certainly deserves, for we cannot find even any mention made of it in "ll'ading" Schools for the Organo In the attempt to give a few hints on this subject, we are met with one great obstacle, viz: the prevailing confusion in the names of the Organ Stops, entirely different tone qualities being found in different Organs, under the same name. A careful reading of the description of Stops in Part 1., wìll somewhat diminish this difficulty, the more so, because we shall confine ollrselves to stops generally known and made, if not equal, yet very similar by a11 builders, and cOlltained in all modern Organs of any pretence to good quality. Combination of stops is analagous with instrumentation in composing for an orchestra. A complete orchestra is, as our readers may be aware of, composed of three ditrerent classe s, (technical term-Quartettos) of instruments, viz: stringed instruments, wooden wind illstruments, and brass instruments. A11 these i~struments are fully represented in a .well planned flnd well voiced Organ: thf' stringed instruments by t~e Viola di Gamba, Geigen-principal, Salicional; the wooden wind instruments by a11 thc varieties of Flutes, by the Stop Diapason, Clarabella, Melodia, and by the reed stops, Hautboys, Clarionet, and Bassoon; the brass instrumentll by the Trumpet, Trombone and the Clarion. . aver and above a11 these slops, stands the crown of every Organ, unrepresented in thfl most complete royal orchestras, the stop emphatically made to sound the glory of the AImighty, and to penetrate to the innermost fibre of the human heart-'· The Open Diapason. " '~o unite ~hese ~iflerent sh~des of tone-qualities for prouucmg certam deslred l'trects, IS the great secret of good combinations of stops. 'l.'he main principles for good instrumen1atlOn, may also be lald down for good combinations of stops ; for, just as sure as a gi venpassage would be of great effect w~en execllte~ by stl-inged instruments, the same passage mlght become mdltrerent, or prove even a totalfailure, when executed by wind instruments; just as senseless as it would be to make Double Rass and Flute (without any other instruments,) perform a unison passage, (unless it be for thc sake of oddness,) just as much out of good taste would it be to draw a sixteen-feet and a two-feet stop without any eight and four-feet stops. As generai rule~ for go od corribinations, we therefore lay down the fol!owmg: 1. _Draw for solemn passages full tU~le? foundatlOn stops, (toremost Op. and ~t. Diap.,] for bnlhant passages add r~eds or small stops, [Principal Fifteenth.] 2. "':'hl'n playmg harmony, the predominant stops are to be the etght feet jlue stops, to which, in order to inCl-ease the power,first the smallel-jlue stops, then the reeds Ilnd lastly the mutation, [Twelfth] and compound stops are t~ be Ildded. 3. Double stops drawn for the Manual, will require dispersed harmony to be used. , To go more ,int~ details, :we give a comprehensive list of ditrelent eombmatlOns, whlCh may be made on ari Organo

[Specification No. 1.] of one Manual with nine stoP!, ane: also on an Organ [Specification No.2.,] of two Manuals witn twenty-one Manual Stops. - The great usefulness of the Stopped Diapason, being, al will be seen, an essenti al ingredient of almost alI the following combinations, is apparent, and we recommend fo Org-an builders to voice it.as it ought to be, full, mellow, and free oi reediness, and we recommend it to Organists, to use it ~s a mean!! of seasoning almost every combination .. List of combinations on the Manual, afford('d by an Or.-;an of nine Manual Stops. See Specification No. l. 1. Open Diapason alone. 2. Opln and Stop Diapason 3. - Dulciana and Stop Diapason. 4. Dulciana and Flute. 5. Stop Diapason and Flute. 6. Viola and Stop Diapason. 7. Sto'p Diapason, Dulciana and Flute. 8. Open Diapason, Stop Diapason an~ Flute. 9. Open Diapason, Stop Diapason and Princij>al. lO. Viola, Dulciana and Flute. 11. Viola, Stop Diapason and Flute, 12. Open Diapason, Stop Diapason, Principal and Fifteenth. 13. Open Diapason, Stop Diapason, Viola, and Principal. 14. Open Diapason, Stop Diapason, Dulciana, VIOla Prin' cipaI, Frute and Fifteenth. To the Iast combination may at pleaimre be a:dded the Twelfth. or Twelfth and mixture. In giving these combinations we do not pretend to havl! exhausted a11 the resources, but merely to give a number 01 useful, judicious combinations.

•

• "

SPECIFICA TIO ~ Ko. 1. ORGAN OF NINE MANUAL AND ONE PEDAL STOP

Manual. 1. Open Diapason. 2. Stop Diapason. 3. Dulciana. 4. Viola di Gamba. 5. Flute. 6, Principal. 7. :Fifteenth. 8. Twelfth. 9. Mixture. Pedal : Subbass.

SPNCIFICATION NO.2. ORGAN OF TWENTY-ONE MANUAL AND EIGHT PEDAL STOPIl.

Great Organo 1. Doub. Op. Diap. 16 feet. 2. Op. Diap. 8" 3. SL Diap. 8 tone. 4. Viola di Gamba 8 feet. 5. Harmonic fiute, 8 " 6. Trumpet, 8" 7. Principal, 4" 8. Flute traverso, 4 " 9. Fifteenth, 2" lO. Cornett, 4 ranks., 5,~" 11. Mixture, 5 " 2 ~" Swell. 12. Double St. Diap., 16 feet. 13. Geigen Principal, 8" 14. Sali0il)nal, 8"

15. 16. 17. 18. 19.

Dulciana, Clarabella, Fagotto, l1nd Oboe~ Gemshorn, Flute d'amour, 20. FlautiilO, 21. Mixture, 3 ranks, Pedalo 22. Contrabasso,

23. 24. 25. 26. 27.

8 feet 8 " 8 " 4 " 4 " 2 "

2"

32 feet

DOllble Op. Diap. 16 Violonbass, 16 Subbass, 16 Trombone, 16 Open Diap_ Bass, El Violoncello, .8 29. Flute Bass, 4

128.

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.... MODERN SCIIOOL FOR THE ORGAN.

139

, Organs with two Mannals and complete Pedal, becoming 80 generally introduced, wc believe it to be of some service to stndents to enumerate here a number of cbaracteristically different combiuations, for practical use as well aB for models offurther combinations. As formerly stated, (page 138) the re80lirce for new combinationa with Buch a llUmber or stops as Specification No.2 presenta is inexhaustible, and we Iimit onrselves, of c~urse, .only to Bnch combinations as will be fonnd mnaically correct, and whlch mlght be made use of in divine service as well a.~ in concert playing.

COMBINJ.TIO NS. ~&p$ under Nos. 5 and 8. (Play disperBed barmony, or play it as solo witb

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Nos. 15 and 16, aB accompaniment. Pedal,24 and 27.) 1 and 4., play dispersed Harmony, or as solo with accompaniments. 1, 3 and 6, for 801os, accompaniment with stopa 13 and anù 16. Pedal, 22, 23, 27. 1, 3 and 4, for cheerful solo strains, accompanied by 16, 14 and 18. (Swell closed.) Pedal, 25 and 28. 3 and 9) or lfor brilliant solos, accompanied by 14 and l and 7 16, or by 13 and 15. Pedal, 25 and 28, or if or obligato : 25 and 26. land 8 1,2 and 3, for solemn strains in dispersed Harmony, or for 8010s, sucb as sbown on page 13, (tune, . Duke 8troot,) accompanied by 13, 14, 16 and ~ 18. Great Org. and 8well conpled togetber. Pedal, 22, 23, 24 and 27.

Great Organo NO.l'lpeti

1. Donble Op. Diapason, 16 feet, two lowest octaves DC 'Ilinc, bai ance of rich metal • _ 56 56 2. Op. Diapason, 8 foot, lower octave or zinc, balance oC ricb metal 3. Stopped Diapason, 8 feet tone, of wood, • • • • • 56 4. Vienna FInte, 8 feet, of wood. • • • • • • 5.. 5. Viola di Gamba, 8 feet, Iower part of zinc, balance oC rich metaI, 56 • 56 6. Trumpet, 8 foot, shalloti; of zinc, reed and sprin!rB oC brasa, • 7. Princlpal, 4 feet ofmetal, _ _ o 56 8.. Rohrflute, 4 feet, of wood and metal, • • - 56 9. Fugarli., 4 feet, oC rich metal,(Intonation oC Op. Diap.). 56 lO. Clarion, 4 feet of zinc and brass--(1ike Trumpet) • • 56 11. Fifteentb, 2 foot of metal, ' 56 12. Twelfth, 2,% feet, of metal, • • Ci6 13. Cornet, 5~ feet, three ranks, Iower octave oC wood, balance or metal • 168 14. Mixtnre, 2,% feet, fonr ranks, oC metal. 224 15. Super octave, 2 feet, of metal, 56

Choir Organo 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27.

Double Stop Diapason, 16 feet tone, of wood, • - 56 Op. Diapason, 8 feet (or Geigen Principal 8 feet) or zinc and metaI, 56 Dolce, 8 feet, soft voiced, of metal, 56 • 06 FInte, 8 feet, of wood, full and mellow voiced, Clarionette, 8 foot, free reed-(tubes oC zinc,) ll6 Stop Diap., 8 foot-tone, of wood, • 56 55 Harmonica, 8 feet of wood, very 80ft. voicedj Flute travers, 4 feet of wood, overblowing from C, • 56 Gemshorn, 4 feet or. metal, 56 Dolce, 4 feet (the octave of No. 18,) • 56 Piccolo,2 feet of metal, (clear intonation,) 56 8esquialtera, l ~ feet, 3 ranks, of metal, 168

8welZ Organ. ]t'or combinationa on tOO 8well o.lone, we recommend : Stops No. 13 alone . " .. 14 alone } for Adag,ioa and similar music in cIose DC dispersed " "13 and 16 Harmony. Pedal: 16 and 8 feet stops. "14 and 16 ..

t

"" ..

"16 f8 Cor sweet Cantabile straina. "16 and and 19 .. 15 and 19

..

g:~~! f~r mnsic or a Bomewbat monrnful cbaracter; play "12 and 15 dlspersed Harmony. Pedal: 22 and 24.

: :

16 and 17} will.answer for harmonic playor for 8Oloa, accom.. "12 and 17 pamed on Gr. Org. by 3 and 5, or 3 and 8. Pedal: 16 feet stops. lf the stops are VQiced as tbey ongbt to be, the above combinations will aftbrd Bufficlent variety to answer almost every case in tlburcb, and to a great cxtent in concert playing. ..

Il

SPECIFICJ.TION. No. 'S. Ors \n or three Mannals with 40 Mannai and 11 Pedal'Stops, (calculated .' for the want oC Congregational singing.) Compass of ManuaIa 56 not.es, of Pedals, 27 Dote!:l, begicprg with O.

28. Grand Bourdon, 16 feet tone,ofwood, • • 29. Op. Diapason 8 feet-(like No.2.) 30. Stop'd Diapason, 8 feet tone, of wood, • 31. Salicional, 8 reet, lower octave of wood, balance oC metal, • 32. Hohlflute, 8 feet of wood and metal, • 33. Trumpet Harmonic, 8 feet (soft Trumpet,) 34. Fagotto and Oboe, 8 feet or zinc and brass 35. Principal, 4 feet of metal, 36. 8pitz finte, 4 feet of metal, 37. Flute d'Amour, 4 foot of wood, 38. Flautino, 2 feet of metal, • 39. Nasard (TweIfth) 2~ feetof metal, 40. Mixture, 2 feet, 4 ranks, of metal,

· ·

·

·

56 56 56 56 56 56 56 56 56 ~6

S6 56 22

Pedal. 41. Contra Basso, 32 feet of wood, _ 42. Bombardon, 32 feet, reed; 43. Donble Op. Diapason, 16 feet, of wood, 44. Violon Bass, 16 feet, of wood, • 45. Snbbass, 16 root-tone, oC wood, • • • 46. Trombone, 16 feet, reed, (tu bes or zinc,) • • 47. Serpent.16 foot-tone, (freereed oCzinc and brass,) 48. 'frumpet, 8 feet, of zinc and brass, 49. Octavbass, 8 feet, of zinc, • 50, Violoncello, 8 feet of wood, 51. Flntebass, 4 feet ofmetal, N umber of couplers to be 6.

.· · ·

27 27 27 27 27 27 27 27 27

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WL., ,,:^*:~-:^l.,.,l hss, in a ulj U L J L U ~ U L U ~ X O U -k, comprised trpl~scriptionsfiu~nsuch mderpiecca of eminent comFm, both ancient and modern, as are particularty vocal in thlyir cBects, and ndoptad a exeoat ive fnrm so simple, that they am placed svithhthe corn1,rehasion - . . . . a6ility of Jioung plnmsts. I

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IQwe98 Dra9uim~-RoomDances.

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Fob TEACHERS AND PUPILS.

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WpeciaUy designed for Social Evening P~lfic3;c~ntsiuingall tho popular and fash:orsb!e Qudri'les, CotiUons, Fancv Dances, kc., with every variety d Ec ,. .ert rrnd most :ipproved figures, and calls for the diIlhut chanpee; the A! " qrrrnqged for ;he Pian iu

PJadat'~d Bum. * A Collccti~mof Ci.oicc Rraltzeq Marchm, Polkas, Schottisches, fi--,l-

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Ronrlos, and Sparkling Piano Pieces, ndnptad cnntinuakiou of the LL ircle." Bof117

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Czcrr@s 100 Fivbfinget. Gen:ises. Op.-139. 8 pwh, each 8tOO. C7~,.y1s 72 Cssy and Pr~gres~ive Leesmg. @>. 88.7. 4 Iwoks, each Czerny's StuOies in Velwity. Op. 299. SLemtype edition. 8 parts, each 60 CCORI;)!(.:C,boun4 in cloth, $1.50. Czemy'a 4u 1)aily Studies. c)p 837. 2 books, each 81.50,1.76, complete, $8.00. Czemy', 3n ?Jouvcllm Etudes. Op. 849. In 6 Xos., American md Gerni~n Fi~~gering, em11 60 eta. --Heller's S:ndios on Rhythm and Expression. Op, 42 rind b a n Finpering, each $1.50. Heucr.j ,? Progre.5sive studies. op. 46. books, mch Heller,s 26 studies, I ~ ~to A,.~ ~of phrasing. , J ~ ~p G. . ~2 boob, ~ ~ ~ ~ ~ ~ ,,,d G, fingering, each ~ 1 , ~ ~ . Hellerl# Art I? .L ~sIng. Op. 16. Book 1, $1.76; book 23&, .A K .h11r911 1 F J :nWrr htudics. Op. 161 76 cts. * 7 1 I K , J ~ I ? ~L~' I s ~ >rt~did* Op. 60. $1.25. J Ko1r ,'iNew S
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