BIt: D S O.

gs I BTB OB
FOR 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.
SINCE thc pnblicatiO!l or
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

Il1~~~~~~~~~~~~~~~~~~~~~~~~~~~ml
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
instrnetion books, :md at the same time m ceiyed, "nel tend to giye thc NEW METIIOD a
wide popuIarity.
Specimens of the eompositions of Mozart, I-Icll er, Drcpch ock, Mendclssohn,
Thalberg and others aro interspersed, by 1 ne dcgree imb:be thc style~ of thosc cminent
rnasters, instead of confining himself, as i, 10r.·
I hnvCl endeavored to tako tho st: the fir~t rndiments of mllsic, IO the highest
departme-at of the art of Pi:.mo-forto plnJ
employcd to enlargo and fili tlp a book.
pleasure, instcnd of discourag ing him wil
SIBLEY restin;; pieees, whkh nre so oftcn usc1cssly
lSt the pnpil and makc practicc a sonrcc of

The plates ilIustmting the variolu

highogt anthoritics arnong the modern prc
At tho conclusion of tho ?(ork, n cl
MUSICAL $C on thc subjcet by L_ KOll LEP., one of thc

purtmcnt of music mucb neglcctcd, ulthough

of the Rtmost importance to every one 1 :1~2 te:tch in ~ thc Piano ~ profcssion. Thp.
examples, exerci51es and explanations her<
works of the great masters much Iess diffi LIBRARY ~n: 'l'ie pupil wilI linci un introduc:ion to th~

This LAST AND BEST WOR. r in Excellence lQ all OthC1' "J1étllO~"

"SystewtS," and "SCIIOOls," a a Acqnil'tm.ent of et Tl107'ntgli.
Knowledge of Pian~ lle Rlldimcntc:.l Studies
PRESENTED BY !
The following are selectcd from the .
opinions migh
Library of Congress h" th'l Puhli shers.
ndmimble work,
Hllndrcds of similar

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:
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, RlCU.lRDSON' .e.ms to hav. mlnJ;lcd th,
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 ,
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
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
i tbis purpo~6. it is the rightODo, and d(>ger'Vcs our hearty rccom·
mend:ltion.-~tu si cal Re'flew, Ne'W York.
I This work cannot rodI to in surv a most satisfactory progress
I 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
I 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.
THORUP~ Te:tcher of Music, New Bedferd t Mass.
I I conoider it tho high est perfection of ..nything in the shspo
~f un Iastruction DooIc for tbe Piano, being 3. complete guide
for thoRe desirous to bccome acoompllshed performers.-J.
DELL.\K, Toncbcr of MUilc, Pbiladelphia.
I h.ve no hesitation In ...yin,;, that Cor in. trnction on we
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-
out. I n~com1H (>n(! it to my fullo,v tctLchers.-S. L. PEcKu.\.:'..r,
TC3.,~hcr 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,
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
and 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.:lersasposses-
lIing many merits not claimed. by other worke of tbc kind.
Daily H.rald, Cleveland , Ol1io.
RIClB.RDS08 '8 Ne'W Method is certainly R.mon~ thc best works
;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
(\.;;,t('r.
;!lC tì ('S~ nrr:m!;cllbook ~ fO l' fupils learnin~ thc piano
L'f"C {'t'Cl" :"c(m.--T IH~ Morlli r:~ Hcrnld . Montn·,,:'\.I. C. E.
t:.l ('1 rn are t.hcl1!1::lnd works for th(l f:Ji:tuc . i t i" h:Lrd
Il
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'
hdclpb ia.
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
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..<i t.e:·:lg fh c b~$t pu'ù!ish eù.-Datly
Journal. 8rr::<,u!'c . N. Y.
Thc tlw\"oujlh 1:1:1n11('1', tb ~ eor. ci~e n~d ludù trcatmcnt, lil
whÌt: h C\'<:>:-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 ver-
bosc 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 sub-
stituteù.-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 COffi-
p: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 m<!..Dn(>r.-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 musi-
cal 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

I pla.ne no work of equal merit has ever come before the public.
~C . H. L OE1\R, T""cher or Muslc, Rogersvme, Tonn.
of tbe kind cxtant. It embraces thc princ:pl~ Qf uU oth cr
piano--forte instructlon hooks. wbile Fua ny ntw and impcrtant
thc t fl'tEum of mll ::: j c~ l pr:tcticc is f'ery muçh dimiui:::bed.-Tho
MOl'avian, &tblc:!lcm, Pa..

l
l
i<leaB ano introduced.-Tbe Tablet, New Yorl<. ,

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

011 WOBIS.
OalcQtt's Musical Grammar. In Four Parts. I. Notation.
MUSiOAL CO M POSITIO N. II. Melody. III. Harmony. IV. Rbythm. Containing within a
small compllss thc leading principles of Musie. By Dr. <ÀLCOTT.
Priee $1.00.

Weber's TMfwy 01 MusicaZ Oomposition. Treated with a

Olarke's jl.lusical Oatechism. Designed for the assistanee or
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Teachers of tbo Piano-forte. Prcpared from the One Hundred and
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Eigbth English Edition. 313 cents.
By JAHES F. W ARNER. 2 volumcs. $6.00.
Five Tlwusand Musical Terms. A Complete Dictionary of
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rules for al'ranging Music for full Orchestra and Military Bands. By such otber 'Vords, Pbrases, Abbreviations, anù Signs as are found in
I . B. WOODBURY. 75 cents. the Works of alI cminent Musical Composcrs. By JOHN S. AD.urs.
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(}uWe to Musical Oompolrition. For thosc who desiro in l\

short time and without a tcacher IO acquirc the art of inventing Melo- j,enhart's Elements 01 Music. A cleur amI systematie arrunge-
dies, and ofproviding Ihem with suitable accompuniments. Espccially ment of Rules for the Piano-forte. To which are aùded Burrowes's
of composing the casier kinds of musical picees. By lIEINRICII Guide to Praetice, anù Czerny's cclebrateù Letters on thc Art of
WOllLl'.t.:wn:. Translated by J. S. DWIGIIT. Cloth, 81.25. Playing the Piano. 50 cents.

lIarx's Genm'al Musical Instruction. An aid to tcachcra

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This i~ a translation of one of tbc most valuable theoretical works on
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1fatel'ia Musica: or, Matel'ials IQ"/" the Pianist. A

mOROt1GH BASS AN'D liAltMON'Y.
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 Har-
mony hy exercises which thc stndent is to write. The utmost sim-
plicliy of langllage has boon used in tbe cxplanations. By A. N.
JORNSON. 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. In Twelve Famililr Lessona
between a Tcacher and a PupiI. 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
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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.
elass Book, containing the Principles of' Musie applieù to Piano·forte
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Seminarics of Lcaroing. By J. C. ENGLEBRECIIT. 75 ccnts.
~o01'e's Oomplete Encycloprodia or 11Iusic. Elemcntary,
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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 diree-
tions 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. By JOHlf
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S. B. MATHEWS. 60 cents.
':Ite Tuner's Gwide. Containing .1I Complete Treatise on Tuning
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L~=-=-=_=_==_=-=_=-=========='~~=================================='
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Cantatas by Eminent Authors. Singer's ltEanual. Containing Elementary Instruction

$ì~o~ choice collection of Secular IlJld Sacreù Music. By W. WILLlAM~
Exoellent for SÙlgmg Societies and Schools. Ku:sical.Mirror. Elementary Instructions and a collec-
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8 A C R E D. Part Songs. FOR l'HREE AND FOUR FEMALE VOICES

Selected mostl,. from " coll ection by S. MliLLEn, and translllted by FANI!I;
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High School ChoraUst. A Selection ofChoruses
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Operatic Album (The). A Collection of Music, in
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Lay of the Bell. By ROMBERG. 75 centa. The. Trio •. A Collection of l'hree-Part Songs for FemaIe
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,VU
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b-'""

Price 75 centa.
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Transient and Eternal. By A..·oTDREAS ROMBERG
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muSlC: the . former arll elUly ~Il.d thOTOUgh, ~nd include nuliierous attractive
FOR 8ECULAR FESTIY ALI. 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
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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
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Summer Musical F",tivals. The Nightingale. A Choice Collection of Songs
TUE GATHERING. - " A",:\y, away, to fields of green." ! Cbanto and Hymns for Juvenile Cla..e., Public Schools Seminarie- and
TnE DEPA1WIi!m. - " MCl'rily ove~ the water." ! Home Recreation. By W. O. & H. S. PEJ:KINS. Boards, 50 cents. ",
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exerClses, over 200 songs. '
A The Skippillg Rope."

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BRl<AKI~G AWAY.-" Sunshin~ after rain."
JUST PUBLISHED:
TRE FAREWELL. - " The sh",ùows gently fall."
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Good night he bid. to you and me."
THE COlDEN ROBIN.
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Cantata. Words by SIDNEY DYER. Music by A. CULL. Paper SI. Several Bndred Popular Songa. • .
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For High Schools, Seminaries, and AdvancE
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Arrangeù /Tom the Folk Songs of Germany, - a' rich mine of 8weet snd
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 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.
,~ l}
i C,..) i·J
--}
t-··
C·~.' S :1
:..--
"
 •

PREFAOE.

ÀLTHOUGH 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 progress-
ive,-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 depart-
ment 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.
 •

CONTENTS.
t

PART I. PAGa Exercises (interspersed with V oluntaries), in Cross-

P..,a

UISTOny AND DESCRIPTION OF TRE ORGAN, l) ing the Feet over and under each other,. • 85 -94
Bellows; Wind-trunks; Wind-chests; Claviere, Exercises (intersperse.d with Voluntaries), in Sub-
Keyboards or Manuals, 6 stituting one Foot for the other, • 95-97
Draw-stops; Pipes; FIute and Reed Stops; Size of Exercises for the alternate use of the Toes and
the Organ Stops, 7 Heels, 98:...99
Description of the Organ Stops, 8 Sliding from one Key to another, 100
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 de- TriQs 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, • 20
Exeròises with Slurs or Ties, .20-22
Interludes and V oluntary, • 23-24 P A R T I I I.
Exercises in StaccatoPlaying, .25-26
. Fugue anùShort Pieces in Two Parts, .27-32 COMBINATION OF STOPS, 138
List of Various Combinations whieh may be .made
THREE-PART PLAY, 33 on an Organ of One Manuai with 14 Stops and
Exercises to make the fingers independent of each One Stop 011 the Pedal, 138
other, . .33-34 SpecificationNo. 1, • 138
Fingering by substitution, . 31-35 Specification N'O. 2: of an Organ of TwoManuais
V oluntaries and Short Pieces in Three-Part Play, • 36-53 with 21 Stops, and 8 Stops on thePedal, . 138
A Series of Combinations which may be made on
FOUR-PART PLA Y, . 54 the Organ describedby Specification No. 2, 139
Close and Dispersed Hatmorty, "'. 54 Specification No.3: of an Organof Three Manuais
Voluntaries (Preludios and Postludios), · 55-70 with 40 Stop~ and llPedai Stops (calculated
Gl'ace N otesand Embellishments, 71 forCongregationai Singing), 139
Arpeggi08, 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
PART II.
• PEDAL PLAYING, 73 FORORGAN EXillBITION ORPRACTICE .IN
Introductory Uemal'ks, 73 TRE COMBINATION OF STOP S, 151-158, 159-165
Compass of Pedal-Boards, 74
Exercises for the alternate use of the Toes of Right FOR TRE CONCERT, 182-188
and Left Foot, • 74
Further Exercises in the shape oi Trios and VolulJ- FOR TRE CONCERT OR CONCLUDING VOL-
taries, 76-84 UNTARIES, 13}-2OC
 TRE MODERN

SCHOOJ~ FOR TRE ORGAN.

PART I.

mSTORY OF TRE ORGAN.
1'm; eiWly history of the organ is so much involved in ob-
I ~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 or-
gans,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;
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: o

of whi.ch in.-truml-'nts ali ancient writt'r(St. Hieronymus) says, " February the l"t. Ifì65. Then made a bargain with Sir
that thpir sounci coulci beheard OD t.h~ Mount of Oli ves. 1'0 Geo. Trevilyan, for an organ with these stops in it, as f01l0W8 .
gi ve some idea of these anciellt organs, it may be ~tated, that alle Diapason, "\ lane Principal, l
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 hun-
dred plpt'S ~f an instrument which was b',ilt as late ~s in the
One Recorde,
Une Fifteenth.
wood. lane Trumpet,
One Shaking Stop.
J mettle.
,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 dif-
w~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 perfec-
three 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.
wlth the fist. enpfeife).
l\louks and prifl,sts occupied themselves,ill the gloomyera The mechanism of the organ appears to have been welI un-
of 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 be- In 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
tWtl keyhoards. hunrlred and forty-three pair of organs" at Venice, distributeJ
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.
magistratt's and the organ-builder, inwhich it was a&,reed by William Carr, English Consul at Amsterdam, in 1688, meo.
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.
iO
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
Irial and el(amina~ion, by 8uch orgamsts as theyahould nOffil- two centuriee, to bave been the natura.l grQwth of GermlLDVo"
ti i\IODERN SCHOOL FOR '.cHE ORGAN.
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 orna-
ments, as imag-es and stately organs, wherein they much de-
lig-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 circum-
ference 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. Re-
natus Harns, who died in 1715, was a cotemporaryand rival
of Father Smith; the number of his organs runs up to twen-
ty-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 Ger-
man, 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 workmanship in this department. Of course, organ-builder!>
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 Silber-
tnann 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<Tan in St.
Mlchael's Church in Hamburg (yet standing), at a~ expense
')f $20,000. • Some organs have two, three, or even fOllr claviers. Tllf'Sf
But the two best organ-builders of the latter half of the
eighteenth century, are Johann Gabler of Ulm and Christian
Miiller of Amsterdam; the former by hs O'lorious oro'an in the
Beuedictine Abbey of Weingarten; the l~tter by the world-
:enowned Haarlem Organo
Cutemporaneous with the Silbermann's flourished, in France,
Cl~arles Dallery, François Clicquot, and Pierre Dallery, who
bUllt the organ of Notre Dame, at Paris. A descendant, Pierre
, Fran\~ois Dallery, was l; vir g as late as 1633.
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 ac-
Ilounts, 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 hOli-
zontal, 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<T the man at thc
bellows, it may he con~idered "all ri~ht." "The anernorlletn,
or wind-gauge, is a well-known instrument to .• wei~h the
wind,"or. in other words, to ascertain its steadiness and force
The bellows must, oi course, not be left " leaking-," nor mis-
chievous boys or lazy blowers (to ease thejr work) be permitted
to take away the weights on the bellows, or even tu chanO'€
their places. ~
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
gene~ally know how to obviate such a trial-hefore illcompe-
tent 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 le-
pamng.
CLAVIERS, KEY-BOARD8, OR MANUALS.
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-Coup-
lers 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 objection-
able.
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 omit-
ted bv most alI good organ buildcrs.
TRE PIPEB.
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 accord-
ing 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 in-
ability to sustain itself for any lengt.hened period, is, as a ma-
t~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 me-
ra!-pipes: and it is a metal that undergoes but little alt~ration
•
.,
at common temperatures under even the combined influence 01
air and moisture. The teme produced from pipes or this ma-
terial 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-an-
builders 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, al-
though 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 sur-
face smooth, improves the tone of the pipes.
CLASSIFICATION OF THE SOUNDING 8TOPS.
Flue and Reed Stops.
A series of pipes, the range of which extends from the 10"':-
est to the highest key of the Manual, or Pedal, .gradually dl-
minishing 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 acute-
ness 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 writ-
ten. A thirty Iwo feet stop, then, Iwunds each note two 00-
tavei lower thllIl writtfm.
I
8 MODERN SCHOOL FOR TRE ORGA~.

'l'he foregomg explanatlOn rf'fers to fiue pipes; but the portion of the Stop Diapason, and is seldom disposed other-
le Igth of reed pipes is also modified by the outline and scale wise than as an incomplete stop, it!! compass generally only
01 the tube; the length increasing as the scale is enlarged or extf'nding to middle C, or. at most, t.o wnor C. The Clara
made to deviate from the cylindrical outline. A cylindrical bella much resemblf's the German
reed, or Clarionet tube, is very short, beirig. little more than 5. Hohiflote (Hollow-flute), a vcry effecfi ve stop, made 01
balf the speaking length. a Bassoon tube, slightly outspread- wood or meta\. When of metal, the Hohlflote is mfide to a
ing, rather longer; a Hautboe tube, with a wider bell, 10llger very large scale, thlls prodllcin!! a powerful amI thick. or, as
again ; a Trumpet, longer still: and a Trombone, or Possaun, the name distinctly intimates, a hollow ton6. It is made eight,
the largest stop in the scale, also th~ largest tube used. or four feet long-.
The numerous effeets of which ali well-planned organs are 6. Violfl di Gamha. The name of this, rnostly ei!!ht [l'et
suscepti ble, result parti y from the presence and use nC stops of stop, has fOI' years heen introduced in this country; but tI) uur
diverse form, nature, and cbaracter of tonI', and partIy from own knowlf'dge, and according to report, noi" yet. the real stop.
Stops, varying as well in pitch as in quality of tonI', and other noI' do Wl' expect a great demanrl for it, hecause the necessity
dist.inctive conditions. The most important and useful stops 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 or
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
bass to the manual eight feet stops. the Viola di Gamba may be considered a luxury-a charming
'l'hl' eight feet stops on the manual and the sixteen on the I luxury for rich congregations.
pedal are calletl the Foundation-stops, as being the unison of 7. Keraulophon is also a Mariual Stop of eight feet,of ma-
&heir respective departments, and giving the " ground-tone." tal, and, like the Gamba, of Il reedy and pleasing quality ol
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
terial importance, are only mentioned.* & DAVISON, in 1845.
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 good- Il. 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. Wiener-
there 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 men-
if 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 over-
Open Diapason. blowing (iiberblasen). the ootave above. 'l'he Ce~zstina is al so
~. Dulciana is an eight feet manual stop of a very soft char- a 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:: Prin-
th~ 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

~ '!hose Je~iring to read more on these matters, are referred to the works of * As jet few, if any, in thi8 country; its great lùlity lInd chellpne88 w]J
Jlol,kins and Rimhanlt, And to SeideJ's, in the Gel'mlUl langllll!{e. make its intro,luctioll verJ desirable and useful.
t Tile ol'g"ns in St. Petl'1"8IJ\1rgh, Iteval, Frankful't, Olm, ali bllilt by E. F. t The names of some ur these fiutes have IIppe~red in reports oC organ ex·
.. ':kcr of Ludwigshul"g, have Pcda) DillpfJosoll~ (si~e!lp. feet) oC Rnglish tino hibitions, and alwaya .pokell oC very hi{!;hly •

•
 MODERN SCHOOL FOR THE ORGAN. 9
Rtop havmg three pipes to each key is cai.ed a stop oi three 25. Double Stopped Dzapason, likewise called Bm.mlon, 8
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
tone. They are: and entirely useless, (in my opinion,) except for mere show.
14. The Mixture. 26. Violon Bass, sixteen feet, is for the pedal the same as
15. The Ses or Sexquialtera. the Viola di Gamba for tbe manual; but is made of wood.
16. The r:ornet. 27. Trombone, sixteen feet, a very essentia! pedaI stop, with-
17. The Furniture. out which no organ can be cali ed " grand," by anybody having
Reed Stops.-A reed-pipe of an organ is formed of a mouth- ever Iistened to its soul-inspiring tones.
pleoe, (composed of a block, reed, tongue, and a wooden wedge, 28. Violoncello, eight feet, variously made of wood or me-
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.
oall~d free reeds have been introduced. In the free reed, the 29. Grand Double Open Diapason, Grand Subbass, or what-
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 satis-
latter: 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
8um~s its former position, and the sound is produoed by its this country it has been roade or zinco
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 Ger-
man y of free reeds.
Thc most common reeds in our organs are:
18. The Trumpet, eight feet. COMPASS OF TRE STOPS.
19. The Hautboe, do.
20. The Trombone, eight feet in manual, sixteen feet in The lowest key of organs ought to be (and is mostly) C ;
peda!. and organs built on that principle are called C-Organs. _Whe-
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 The Clarabella is seldom carried farther than the two
their being closed at +he feet C.
tone as if they were twice The Hoh1:flOte, Viola di Gamha, Keraulophon, Hautboe,
Trumpet, Cremona-alI these JORre the same fate witft th.
the four feet C. Dulciana (at leapt in the !welll
IO MODERN SCROOL FOR TRE ORGAN.
Principal, Flute, Clarian, ~re mostly complete stops, each convinced of the usefulness oi instruction on this sllhjert, ha~
baving fifty-six pipes, of whlCh the lowest C, 1=r~1l-B already, some years ago, requestcd us to makc a few eXfJos;IIO/lS
i. four feet long, the next C auove two feet, etc. E= - - 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-('xlll-
The Fifteenth, Piccolo and Flageolet, are likewise complete
"+ bitions, that we, at the risk of hecl)min~ unpopular witb ~orn·
parti es, cannot conscielltiously withhold our views on t hE' SIlI.·
f~--,--J is two feet long. ject. Good organ-builders wiII reJoice therehy to spe the tri('k~
atops; their lowest C,

1~~
-
The Twelfth is also a :mplete stop; its lowest C,

__1 is only two feet and two-thirds long, and sounds

of incompetent competitors exposed-congregations aud orgl?n-
ists 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" pur-
the note l@ ~ J chasing" 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
Un striking the lowest C of a Mixture of three ranks, three

E~
thus =( _
;--=EJ
-_r
different-tuned pipcs wilI be made to speak at once, tuned
The other compound stops are
~similarly arranged.*
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 se-
lect the builder before drawing a pIan for the DI'gan, as differ-
"I I el1 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 num-
ber of stops, but the number of pipes of each stop, defini ng
the material, the length of the lowest pipe. the number of ad·
TRE COMPASS OF TRE PEDAL STOPS 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.
must, vf course, begin likewise with C. organbuilders, aud awarded with the understanding, that tbe
The Double Open Diapason's lowel';t note. organ would not only be exhibited, but examined by any com-
.ounding an octave lower s~ill; its comp'ass, a,,; petent party or parties the congregation might please to calI
well as that of aIl other slxteen feet (double) for it .
.• tops is as foIlows : To examine an organ built after such a plan as descrihed,
wiII, however, require more care and more" knowing" than to

~~
~- -=c~ I=r.II~ play at its exhibition some splendid piece of rnusic, alld this
-+-:t=~~~~---- ~
-.-. . .,- --y...... -.;
--i--t--+ i I I don e, to declare the organ to be" the best instrument ever
_ - -.--+---+-y o:S built," or something like it. It wilI he necessary to creep in-
- --I- --, -+-y...... ..t sidI" the organto ascertain: 1. Whether t.he pipes are reaIIy
--1--+........... - '"
-r.t......
u
~
..,
.. all there and made of the stipulated material and size; ~.
Whether the beIlows furnish enough and a st.eady wind during
J 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
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
(principally the cOllplers) to corrE'ct sli.ght dt>rangements. with-
fut C, are a vexation to ali players and an ubstacle in the way uf young 01'- out heing put to Ihe necessitv òf working one or two day'! in
ganists to becolJle good pedal plaJcrs. Why should the note C, nnivel'sally getting, for example, at a sere w, to set it mE'rt'ly ari.g·ht; 4.
acceptcd as foundation note, not also be thc lowest note, both in Manual and Whether the organ is tunE'd in the right pitch ;t 5. Wbetht'f alI
Pedall
pipes are carefully fastened, so as to prevent a very annoying
The tone o( the C of sixteen feet length is in unison with rattIing from time to time ; 6. Whether the meta! pipes arE'
the lowest C of the Grand Piano Forte; it is the CCC of the not too thin, and whether the wooJen pipes are provjdpd with
English tablature-the Contra C of the German. a coat of size inside. Besides these, there are many othe!
The effect of a thirty-two feet stop is one octave lower stilI little matters to be looked after, too nùmerous to mentiOi
than the above. The sound of its lowest C is below that of here. .
any other instrument, and is signified in letters by ccec, (the The following schedule wilI illustrate and more fulIy explaill
German term for it is Double Contra C.) . our view on this subject.

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 or-
gans. '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 folIowino-
jnes 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.
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.
 MODERN SCHOOL FOR THE ORGAN. Il
supporter of a11 Church singing, be Jifferently dispose.1. Or
STOPS ON MANUAL
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
56 pipps. of these, the Diapasons must Tlot be wanting. Next in irr.
2. Stop Diapason, cight feet tone, of wood, 56 pipes. portance are the sixteen ff'et Pedal stops, which must be in
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
in the lowest octave. constructron alld number, not by over forcing their supply 0#
4. Pr ncipli I, fonr feet, of metfil, 56 pip~s. wind, which produces a trembling alI over the house, and
5. FIutI', four feet. oi wood, 56 pipes. which is too often a cause of dissatisfactioll with congreg.
6. Fifteenth, two feet, of metal, 56 pipes. tions.
7. Twelfth, two feet and two-thirds, of metal, fifty-six M utation and compound* stops, as also theReeds, must be
',1pt's. in proper keeping with the foundation stops-rich, mellow,
8. Sesquialtera, two feet, two ranks, 112 pipes proportioned of a large scale. After this brief expositioll 01
the character of organs for congregational singing, we 'may be
PEDAL STOPS.
spared any remarks on organs for Quartett singing.

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 ORGAN-TOUCH.

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
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:)

ORGANS FOR DIFFERENT DEN01tlINATIONS i
OR,
DIFFERE~T STYLES OF SINGING.
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
STYLE,
LEGATO AN"D STACCATO-PLAYING.
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 • "fe object to .the us~ o~ compound stop, Cor accompanimf uta ha gene !Il.
~ tbc cntire exclusion oC choir singing. " , even ID coogregatlOoal slngmg
12 .MODERN SCROOL FOR TRE ORGAN.

~~..
IJ I! 2 •

'g-.-
=c= =t-----Ili·
,

i
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DI'
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l1
7
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e .-.-'"l-+.-.-......
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--
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, I , , • •

lOr, a prolonged passage like No.1. will unavoidabIy affect the "GoD SAVE TRE KING,"
tuning of some pipl's-will not unfrequently cause many pipes not thus :

I~1f-~I:·~-=:/l :t:·=~:~t-Ib=~ ~. II
t.o " blow over," and put the bellows to a rathPr too severe test
of their durability. Passages similar to No.2., while produc-
mg the same effects on the instrument, will produce in many --r--::::r:
---
+------+7-
~~-
+--~-
- -- -+--
-f---- !;f-+--
tTgans !l most pitiful effect by the trembling of the notes ot the
alf, caused by the shaking of the wind. but as written ; namely:
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, llIR Et~ ;=ilt~=g~~=~~~1
.. 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 un- PSALl\fODY PLAYI~G.
doubtedl y wrong conception is not only confined to playing
Psalmody, but is even applied to music for the organ, com- A., TRE GIVING OUT OF A TUNE.
posed by mastl'rs. What would become of ali the soul-inspir-
ing sinfonies of Beethoven, should e\'ery instrument of the or- The ohject of the organ playing the tunc ,to be sung once
chestra, capable of sustaining its tones, adopt the same prin- over, is, 1st., to give the pitch; 2nd, to give the movement,and,
cipIe? What would become of the agitating theme in Beetho- 3rd., (in con!!regational singing), to bring the melody to the co,g--
vcn's C minor sinfoni:. nizance of the congregation. It is obvious, that to achieve ali
this, the player must hl' careflll in playing, and use proper
li--T==g ff-EJ
.....
judgment in the combination of the stops. At ali times it is ma-
teriai to be understood : both harmony and melody must hl' nm-
derf:d intellig'ihly, every note of the meIody must be distinctly
Il the instrumentalists shouId deem it in better taste to play . auùihle. so much so, that even persons without musical educa-
tion must be enabled to follow the air as it strikes syllahll' aftl'r
EE 1 =E- ~ syllahle. Tbe misunderstood notion therefore of legato st)'le
E~-·-·---3=)
-.-
The Yery lifl' and souI of music depends on its rhythm. which
(see preceeding chapter), is most emphlltically bad in ",g-iving-
out a tune ;" and yet, it seems to hl' so glmeral1y regarded as
the " true organ style," that. youlIg organists, aft.er hearing us,
by this misunderstood style, must in all cases be rendered come up, wondering to hear us play so " much staccato!" 'l'o
doubtful, and mostly vanish entirely. Therefore, young stu- be flllly understood, we give here, by way oC practical illustra-
dent, play your organ music just as written; pIay, for ex- tion, the tune .. Federal Street," as we have heard it more than
ampIe, the tune once:

'Thill IS Cflltainly too much of the goad thin cr " leO'ato." principally the alto and tenor; and we givliJ here the ahovE
But, while we recommend every notl' of the ~ir to'"'be struck, tune as it ought to be played when given out:
,.~ thi.ll.. ;t emlT,ently ~ood t9 !llur other parts of the harmony, I
 MODERN SCHOOL FOR TRE ORGAN
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.
t~~3:~i~t~~I~~jjfa~l~~=I3=E=:af~~~
~=-=-~=~:If==P=
!~r-fIE-'
I=±R+±t:---F~_-f~~~:jfI.:·-I-.-tr::t=~ ~±f=
r------t--
4lJ:I=IE
_==!I~d-:!~tE
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 fre-
quently 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 re-
sources of his instrument, and be ever ready to step in should
chorus or solo singers show any signs of wavering;.- The of-
fice 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<?r the pp passages; Stop Dia-
pason and Flllte will be good for piano passag-es; for forte
passages takp. Open Diapason, Stop Diapason, and Flllte; for-
t.issùno Uf) pll.ssag-es will require the addition of "Principal" to
the last-nampd stops. For chorus-choirs proportioned additions
01' Flue Stops mllst be made.
'l'he importance of the organ in Congregational singing has
• Sueh eMes will oeenr, and it is in churchc .. little beeoming for the leader,
in CRses of emeqrenc y to Rtt.ract Rttelltion by béating time or any other meane
(however admissi')le in other places)-whereas the o"gan CRn more effectllally
8t.ep in. and do aL the lleedfu] without attractillg ally body's IIttelltioll outside
tne choir.
t Some cl,nreh mem ber once objeilted to the organists bcing also leaders or
'he ohoir; because he did uot wallt a " wooden leader"
13
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).
r
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 har-
monic sllpport to a singin~ cong-regation, sllpported by a small
(or large but sharp and squeaking) or~an, or eVfn an Organ-
Harmonillm, 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 har-
mony 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 instru-
mental 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 ao-
companiments, and had better be spared for extraordinary ef-
fects.
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.
•4 MODERN SCHOOL FOR THE ORGAN.
ON PLAYING CRORDS.
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 com-
prises (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 simul-
talleously. We pity ali choirs accompanied in such style, and
wonder how they can sing in good time !
ON VOLUNTARIES.
A. TRE OPENING VOLUNTARY OR PRELUDIO.
It is costumary for the organist to begin the opening volun-
tary as soon as the minister enters the church. and pursue his
srbject during the short time that plapses while the conarl'aa-
lion are entering. This introductory voluntary is SUPI"'~ldOto
be of such charactl'r as to prepare the minds of the conare-
gation 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 har-
mony, 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 congre-
g'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 in-
stl Ulnent, the masterly fue-ues of Handel, J. S. Bach, Graun,
Rink, :Schneider. Hesse, and others, are eminentIy adapteJ.
• ·..I0~ .>Are page 72
OF TRE INTERLUnE.
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 es-
peClally 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.
HOW TO TAlE CARE OF ORGANS.
To protect Organs against the destructive influence ot dame-
ness 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 preserva-
tlOn 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 ne-
cessary 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 in-
Etimces 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 energetically, and to raise the fing-ers at the ri~ht moment
hand I1lonf', alld afterwards with both hands together; be- Unrelentin~ practice of all has to accompany these, as, in-
ginning slowiy, and by degrees increasing the movement ; deed, aH following exercises.
but above everything, care must be taken to strike the keys
l.

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16 MODERN SCHOOL FOR THE ORGAN.
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 MODERN SCHOOL FOR TRE ORGAN. .,
Twenty-four Exercises, which, by ìncreasmg velooity, ought to be practiced first legato, (like the foregoing), and after.
wards staccato.

14.

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IS MODERN SCHOOL FOR THE ORGAN.

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36.
 MODERN SCIIOOL FOR TRE ORGAN.

TWO-P!RT PL!I.

PROGRESSIVE EXERCISES INTERSPERSED WITH SUITABLE INTERLUDES AND VOLUNTARIES.

ON TRE SLUR OR TIE.

Any note connected by a TIE with a preceeding note oC the terrupted sound. A" tie" over a group oC dilferent notu1
lame name must not be struck, but its time-value must be
adùed to the first note, so as to make both notes one unin- I directs the perCormer to play as much legato as possible.

37.

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 MODERN SCHOOL FOR TRE ORGAN 21

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 MODERN SCHOOL FOR TRE ORGAN.

30. FUGUE FOR TWO PARTS.

26 l\IODERN SCHOOL FOR THEORGAN.

:l3.
I -- - -}'
=-~-t~------±

--
x
 •

l\fODERN SCHOOL FOR TUE ORGAN. 27

Fugue in two parts, serving as preparatory exercise in Fugue-playing.
~4.
Fughetta Moderato. -

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,
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 MODERN SCHOOL FOR THE ORGAN.

2" 1 4
~. 3 3 4 r-,X 2
4- 1

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36. Moderato.

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 MODERN SCHOOL FOR THE ORGAN.
:5 8. Allegro moderato.
~ l .. - l .. - -- x 2~.....4,~"""'I

\. ~=i~ dI~ ft:a#-~--~~.~.~~.~~.ì

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. I::r.

:i9.
..
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~ Allegro.

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3

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i
 MODERN SCHOOL FOR TRE ORGAN.

li X...- 3 l ~-. X 1 3 X 1 4

n~~.
s
-I

61. Maestoso.

~'ç==J
l x l

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- X 2 ì:j__-~~- ì l

=~--:::=:;--._-~-- ---==I=~+==f:' =tt-I

""i = r
 MODERN SCHOOL FOR TRE ORGAN. 31
Allegretto

- .-I
~
x -______._--4-----,--
i

*-. 1
*
- ~---
----_::.=--=--+•...::::-_-
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63. Andante.
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,~ ~r~ ~j -1-- m:W aY ~~---4 ~=;--+=t

(~
-.-
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xx
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250669
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 MODEltN SCIIOOL FaR TRE ORGAN.
}'foderato.
G,1
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4 2 4 3 4 1

--1
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 MODERN SCHOOL FOR TRE ORGAN. 33

X 1. l X
--'Il x x 4~~..J

R~ qr H=w-~~~_~
X 2 ..... X 3

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 velo-
city, 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.
66.
2 24
'"
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 import-
ant, inasmuch as it is a very essential help to the " reading
at first sight," and indispensable to give smoothness to the
playmg.
67
13 "

1cS :r-~ I ~-+--=-t=r=.L~

~~_._.,;_._.,,_._li._. ::j
li. --L~~ ~ ~ -F~--3 -1=::iJ___
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x "" ~ 3 l

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 MODERN SCHOOL FOR THE ORGAN.

'-~--------------~ '----------------~ '-~--------------~

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
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.

77. Right hand. _

2 -32 -32 -32 iX
32 -32 -32 3 3 -23 -23 -23 -23 -23 -23 2
• X _ _I_X_ _~
____ .J=1~ _ IX IX ,l _I~ Xl X~I Xl XI_ _ ~ _ _

E'===~==i
E --~--.-- --~
!--==--3~-=#~-f-I-=J-=C=
I 3 I 1-
=~ ~=-
= -.--
l
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- -
 MODERN SCHOOL FOR THE OI{GAN.. 33

.... 8
Right hand.
-. - -. -.
-
43
I 4' ..L, , - .I
34
-.
34 -. -. -. -.
••

F.~~---:Jl-f-
--- - -J
3
43
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43
1d ~
43
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- -tSJ--~- --1'9--
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- - - -6'--
-ti-
34

- - - - - ----tII- ...--
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I
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1
34

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I
-
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12 -.
=~- -3:,----~-E~-
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====:H
21 21 21 X X X 12- 12 12 12 12
lr X X X X X X X X X

Left hand. -. -. X l X -. -.

d l
-
Xl
I
xt
-

Ii-J
Xl
I Xl
t_
.L~ -
I
I I
..JL -t9- +
_.rz.
1 IX
I
IX

+
1_ I -.
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~
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IX
1- I
k
-6- "f9- -ti-

~ : ~~~= ·-I~ I~---:-I=!-~ ~--=t=n

3 - - 23 Ila 3a - - -. I ::
4 23 113 " " "32 3a 32 3 "'
" " + 4 " 4

It is obvious that the employment of this strict style of

!egato-playing, although emphatically appropriate to organ-
playing, can nevl'rthfdess be recommended for all cases.
Speaking of Psalm and Hymn tunes: there are such, not ad-
I mitting of legato, as, for example, Zeuner's "Mis<:io'larv
Chant;" whereas tunes of a f1owing, tender cast, iuch as
I "aHBalerma," " Manoah," and the following tune will req'lire
the skill in legato-playing, to render them in good st} e.

Tnne "LAFON" with Fingering.*

.3
r=:E
- -

~ I x.a
.t":.L.... .L... ..L.-------J ,;-J-....... I
i I l 2 4.
J-J I ~
~~~--*-~---~--~(.X.----·-~-".-
l ---·--r
-?== -~- ~~ l -~~~- .-§-~~_I!5i--~~~~tII
-
::±::::= --== -
@1 ------1- I---~ 4- -·'a
.!---

3 _
From " Zundel's Psalmody "
 •

.16 MODERN SCHOOL FOR TRE ORGAN.

 MODERN SCHOOL FOR THE ORGAN. 37
8.. CANON IN THE OCTAVE.

( ~~~-~
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i± tsJ !
~ =I=:::L:--~---==~
3:-!5'--~--~~
,
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r" 7T l''J r L..t~i=i-Fr il~-r
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x 3 2 l X 2 l mi-~,;..Ji ,~ 3 2

(~~t~-X--_'T---I~====J ~ ~ -U. -6ò- 2

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f'!iiì
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, I, I I
l X
~ t=:+~ ~ r-r:= l...J L.., ; , , I
....X 1 X X l 2 -I, 1
t= --:=1

(~~ J-fEX - . 1~ ~ =1

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L' ~""""'EIT5~XJ I ...... X l X X 1 X l
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I I I

-6ò-
3S MODERN SCHOOL :E'OR THE ORGAN.

OPENING VOLUNTARIES IN THREE·PART HARMONY, FOR ·ORGANS WITH ONE MANUAL (WITHOUT PEDAL).
87. VOLUNTAltY. ;-;- l SI SI l .. 4, ~ 3 SI

X 2-:
x
l
~i.
-~---1-~---4_§X~ II x~x I-~-----f=~.---1--+--+~
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ti/.
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~ x...--x ~ ~ ~ ~ ___ ~ _ . . . . ._ ç
(~~=z'2:======k2====4=r2 I f;J t§g+=-i~:±~~===r-=t
MODERN SCHOOL FOR TUE ORGAN. 39

.a. -' ... ~ . . . . . -f5l---

±r~· ~---I-~-----f
t~
I
-_: ---=~~==I======f
"O MODERN SCHOOL FOR TRE ORGAN.

;i;'d~§ J.4~d.id q J~~~~~-: ~f

- - ~o- -~;.::J 3

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.) i
tlr~-----~-~------------.---________
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•
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fL _ _ _ ;jf _ _ _ _ _ 1-----

---
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--f---
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----
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~ ..... q-r-:+.
 •

MODERN SCHOOL FOR TRE ORGAN. 4.

-
l --- t2~ :
~,
,

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.
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Moderato.
~çr,~~-~di~JtW1 l

-
 •

MODERN SCROOL FOR TRE ORGAN.

~ndante.

Moderato.
 MODERN SCHOOL FOR THE ORGAN.

97. . _ ,

===--J-== ==-==-!-I
----=I===;;:=====~
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.
-q:e=-_______
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Moderato J I *1 J 1

I I I l"

{)--=-=-r-~
~±Z:=a t= ~+ --- =a=I-~-F-~
r= 71-= i t= t· ~.'
t=: ~1
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•
 MODERN SCROOL FOR TRE ORGAN.

Andanl ~.

100.

77
A lll!gretto p
~
~1==S=-Srr
--
I
rl rg-

3 l X 3

-.- -, ~ .. J ~ __--t:! d -ilJ1+:-%'UlI

~~-m~--~i rK---=y--=,~ ~---~

•
 MODERN SCHOOL FOR TRE ORGAN.

l' ±EIt
«

i
]l f
.-f!iiì
-.

l OI. With Dulciana f Flute.

~~-~S~~A-#
r-----r-j -r---ri
fij: IJ=lfi=d-~=F"_I~
r T i ~t ________ ::E
~6 . MODERN SCROOL FOR TRE ORGAN.

r~~ .~~+~-4Ff?
~~=3;E~_I;;J J I r !r J-I r r 2at J 2=r~~~;I~4jjJ~t .
-.... -:t=- ~
~~~I~~==T-::t=tF-11;- j_tt;~_=tt:$_=a;] ~-ij;T.--I
i . -.--

-r-r r
I i I r I I iqr i I Fi' I rt
~~~~44dR . J-r.]. ;t[. t;J. =tJ~ ~~. §i

-- I~ I J=d=f-l =1' 1_-~---~---F-1

-~~~~irt:· D
..
 MODERN SCHOOL FOR TUE ORGAN. 47
...

~ I ~ ! I U"
tt:EJj.. ff
~. "" ,# "'-

.~~=~t= FSf ---g;: W---~=IF ~ 0~

4S MODERN SCROOL FOR TRE ORGAN.

~J -f-ij~: ru ~
ÌÌP:±3f I9 ==t

Andante.
 MODERN SCROOL FOR TRE ORGAN. 4.9

- 7 'r
I~ +=rr',-e I r' Et
,...
~

..
-... -' I I I
.
-... -' J ~
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J . ..1' _.J - =iz~ kl :Sf1
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IV ~
I r i ì I r r-I ,"Uf T ! I
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~~

I
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;;;;:

I
l-
_m-t=!

j:~
-- -.---rJ
--- dI ~ -
106. With Op. Diapason.

~~~g4m9$~~~~~~.~
411egretto.
-x1 I

............ ." """"'------, ~ ~ ---------

~~~~~:=g~~~~~:jij=~ti::f:~tJ _
I '

~===tE;J+t l~ ij:=f=±dI
- 51
 30 MODERN SCHOOL FOR THE ORGAN.

~ ~W tw_~
. 107. I

ANi..",
li r4 · B.q
i
JhE--4d
= = r=---r I I f=.
=El
r=-r I -

~J__ L'f,lA.-~1 j J1;;;), I~-W==f

 MODERN SCHOOL FOR TUE ORGAN. ~I.

Andante.
 MODERN SCHOOL FOR TRE ORGAN.

/ ~
I , , I ,
.
.~
-~-

l'" '1 - • p. • Ci'

ì\
,

,
- ~

,
,.,# ........

,
~ .....

,. ,~ ~". ........ ~ "-

~gf+=-==I-r ' 1$' :--~=~

.

MODERN SCHOOL FOR THE ORGAN. a3

III. ----I- ~ ~+=l==l=;;,J =±I .-l. J . Jdl:J-4.
~~=t~~rr~S
1i'#I I . ..... I
C'on mo.o
 •

MODERN SOHOOL FOR THE ORGAN.

PL!fING or rOUR P!RTS

may, lik l four-part harmony, be divided into close and dispersed write their music, regardless of the convenience of pelfoLllers
playing. While the former is considered easier, and, (because leaving it to them to find out with which hand to reaoh mOlt
it enables the playerto double his Bass notes,) more adapted to oonveniently tbe notes,of tbe middIe parts, which il! in many
Melodeons or Organs without pedals, the latter is far prefera- instances of more vital importance than iii often attached to it.
ble for its solemnity, and, if supported by the deep pedal notes,
for its grandeur. In cIo se Harmony the righthand generally , Example oj Close Harmony, tM right hand playing Treble, Alto, and
pays the parts of the Treble, Alto,and Tenor, leaving to the . Tenor.. left /land tM Bass,
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

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

{~
'IV - J
--ti . . . . . . . . ..."
-.l--~ j **af H ±J~ ~
.. o
;:=tJ
~>F;_f rl=fH • t 18 , d iJru @Q ad
At * the 10ft hand doubles tbe Bass. Psalmody playing, under the pIea of tbe impossibility to reach
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
all notes.

nigher. The following short Voluntaries will, it is confidentlv

On organs without Pedals, the chords after;': may also *

be played as printed out at o or, in other word s, by changing
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.
dispersed harmony to close harmony. . Open Diapason Ilnd Stop Diapason, with Principal or
There is no instance, therefore, to warrllnt the omission Flute, are the stops best suited for alI pieces, those witb spe-
of FY part (interval) of Chords. whioh is so often done in cial directions excepted.

Andante.
/

.
l.

l
MODERN SCHOOL FOR TRE ORGAN.
MODERN SCR00L FOR TRE ORGAN.
 MODERN SCHOOL FOR TRE ORGAN. 37

~~~~~P9u~·mM4~-lJ%D
~. ~74f~·
 MODMtN SCROOL FOR TRE ORGAN.

P ,;0.

-
-114

r_j-~t!tiJj
"-

-
.
60 MQi)ERN SCHOOL FOR TRE ORGAN.

"

.
 l\fODERN SCHOOL FOR TRE ORgAN. 61

1 2 I-
I -t9- •

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. -,
I.
~J E gf ~
~ ~

;tRt-9-rl1· "i9di=
I . ;

(e$~~1~-I~tf~r ~ ,D
_ -s-~_~_I§J~~ij-~==~=~_I------_'IT~~~--{~-~:
-- - -
-- -r-~
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--
- -===tf' .-I-k---)J
. ---- -+----.--
- - t---- - _L--.. __
J]

• •
 1~6. ~ 4.----- MODERN SCROOL FOR TRE ORGAN.

~----.... --; -
If4D~==~ì
A. Ùlntino·l~'I4~WZ~.th~S~oift~St~oP~S.~3~'~J~1~~~_~.,.~'.~~§.J~~~:-~~~J-tr= ~~
--- l ..f.~_3
- - - - -
2
___ 4.

'- . . . . I

.
.f-~.
I J.
----- f--
............
---
- I
 MODERN SCHOOL FOR TRE ORGAN. 63

Andante.
 MODERN SCHOOL FOR THE ORGAN.

Wegretto

Moderato.
 MODERN SCHOOL FOR THE ORGAN. 63
129. All stops but compound and reed stops.
I d -J
Andante ~~}ti--@ I~~----#'-~~J
- . ~. l l l
IF- ~:q
........" -"

. IIQTi mOlto'~~~~~~~~~~~T
q~ - I--- - - I ~~I
- ! -ttt--__

.-- -
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--

\
•

I
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--tr,
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1T'
4!===t:--=-=t
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.......
- ~
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H
~
- Il b :-- 1 I ' "-
I

--;------i--==- - ~ ~ ~- ~~~ ~~~= ~ ~

;-~-.~~~-R==1=~-I-,---=çq--1-
--.-ll~
:::j-~-J:I3-.;--r--~-----1P~,
---'---!----,,---l-+-1..........- __E ~_ --- -o:::E S ; _
----f--
---\!-I--
l.aa t--I =r-
_ - -__ I 11"1J!r.-.~:! - I I "?'.T __
~ ___ "?'.T
 ,.
. 66 l\IODERN SCHOOL FOR TRE ORGAN.
130.
-I
.I r:d.mte
 MODERN SCROOL FOR THE ORGAN. 67

FUGHETTA. POSTLUDIO.

Modeì Ilo •

..-. I '

I
 MODERN SCROOL FOR TRE ORGAN.

.
,

• •
70 MODERN SCHOOL FOR TRE ORGAN,

-
MI
• ilo!!"
- ~ .1.

--- ~~--~ ~-- ----

 }lODERN SCHOOL FORTIIE ORGAN. 71

'1"> <II'
1"t ••
~....-: ...... - .- . .......

E;±J~
-1':
[IIL--L-.- ,
li:f- ......

- "" iii'
........

. ...... P

E: ~tH ., r:=J=fi :
~
~.~ IL ~.~ ~

~:t§Y-+ - \
fttJ ,r r ...... I

..

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 instru-
ment, 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 prin-
cipal Ilote. (see ex. 1) or more, (eee ex. 2) before which it is
placed.

While in the long Appoggiatura the accent is transferred from The double Appoggiatura is played like the short one, im-
. .he principal note to the grace note, the short Appoggiatura mediately and very shortly preeeding the principal note, the
.: eaves the accent on the principal note, the grace-note being Iatter being accentuated.
played as quick as possible before the principal note.

~ -l~=I~~~--:~-= --~--- ~t
~
=-=-----
-t= r
=-
Written.

-~~__=t-:t--.:=h'
I _L _~1
__ J-"-- ----r -!:il
'I(

+
~ -

~-
-

_ L_ _
----#-~-
__+-- =r-- --~=F-
- ..- - - - - --
1----_ -
;5-=-ffi
--l-i---
r-t- - -~-
- 1--
-----l.-_
.. -
--~, - ____
"--

The Turn is an embellishment composf'd or threc (sf'e ex-

ampIe a) or four (see example b) notes, preceding or follo~ing
thtl vrincipal note (see example c.) The Bign for a ~um
iR~

* In German called " Schleifer." t In German called " Mordent."· t Compare paga 14.
 MODERN SCHOOL FOn. THE ORGAN.
Wrltten. .,... p ~

,i ~-I=1F -J r -~Ii-~- N I J t~l=-==~~)

~A-~Frsfrsr-tfiu ttL~~J~1
If the upper or lower notE! of the Turn is to be sharpened
or fiattened, such a change is indicated by a sharp or fiat, over
or under the Turn. (Se e example d, e, J.
The Turn (cl) is called an inve1:ted Turn, be cause it com-
mences with the lower (as is the prevailing mode) instead of
the upper note. •
Tbe Trill, or Shake, (marked fr) i8 a quick and alternate
repetition of two notes following each other. The two notes
are: the principal note, which is always written; and the
Wl'itten
tr
-F
-te--
a b c d
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 per-
mits, the trill cloaes as shown at example e. Such ending of
I
a trill is mostly indicated by composers as will be seen in ex'
ampie d. The trill (e) is caUed a componnd trillo -
tr
Jj
I r-J! ---l#?f= I
e

Arpeggio, or playing in broken chords, if juilicionsly intro-
3uced, 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.
In brilliant Allegro pieces (for concert purposes) the arpeg-
gios. 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 im-
provement 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 in-
strument, and we possess, now, Organs with as manyas ten
complete Pedal Stops or two octaves compass.- The ill-ad-
vised 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 differ-
ent 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 detri-
mental 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 pre-
mise 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 nat-
urally 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.
This note, ~:r
therefore, with a double, or sixteen-feet stop E:'A~:~~~3~
drawn, will sound - - - E?' =1
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 sepa-
rate 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
J the following exercises, in order that the student may be ac-
customed 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 re-
commend 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,

-61-
" 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: (-)

EXERCISES FOR TRE ALTERNATE USE OF TRE RIGHT AND J..EFT FOOT.

3.

-l.

~'*
;j j
I~ J J j ~
- I
-61-
rJ I
-d'
JSjfJ=J J :J I
-61-
I
"'P'7 =61: •

I
-t9-
I 1-'; Il? ])
I·

• MODERN SCROOL FOR THE ORGAN

8.~ ~;~ . ... . . .. ~; -

~~~~iI-~Jl~
.~ ~ ........ - I
.' . '-~:1

~ja Joft Jft ~~iG...

Play the Chorda tirat with .the rigbt hand, and afterwards with the left hand to the Pedalo

MANUAL.(~l~a~.~.~:~:~E·. t'!i ì~ ì'2~~~.tiJ~~·I~~:;~·

'---
.. . . .•. ..
..? ~
~~ILg~~~-~~~::::~~~~~---=t+;;~s
. .
-#,"'1!7" .......
___ ~
-D
PEDAL.
~~
. -.'>." =rtf~t~~l±f±ii~.~.
~+-$t~ ~~~..... ~1.;rn
~~
 7f; MODERN SCH0014 FOR THE ORGAN. •
DEST.

MANUAL.

R L R L

• PEDAL.

. """"----- ....... .-'

... R L
--I J t-&-
2FJ -_1-- -
16. Alla Breve.

\_ ~ - ~~ - 1- - 1~~=-~i71 J]~=gr5~J

(-== i~ --=1 - JìÉ=F' li Ut i ~LL1J :..

~~H:22E-4 g ----r 1r
R L R L R R L R L R
E I f'
L R
r 1- §li
L R
L
 MODERN SCHOOL FOR TRE ORGAN. 77

.. •

L R L

..
~ ~fft r~fJ J ~ ~I~- 122JJ
RLRL RLRL R
~
RL RLRL R R "
L L R
:::::::::;:;:
~

R
r 1-t"ZR
 "

l\10DERN SCHOOL ]'Qij. TRE ORGAN.

: :
..p.. ... -6'-

=- - . - ---=~~I
f): e
i
R
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---.,. '
f~ rs: _-_._~T~:~:___• _ _ I%:--==~I

•
l'A

23. " -
-
....... -". - ... -.; -t9-

' .. ~~ ...-
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----=-1 --- -=t~

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t51 l~- - _~+=

----------
 MODERNSCROOL FOR TRE ORGAN.

R L

~ "I :~.,;jécc4à I~ - 4"!'· hl E~

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R L ~

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ti"
 MODERN SCHOOL FOlt TRE ORGAN.
29

""lSil-

I-

li. , L

__ __ 06- BEST

- I - I L ~r Et2-~--l1 ~~~
MANUAL. mp
•

--
PEDAL.

•\
p

.......

Ir rJ7
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 "

MODERN SCHOOL FOR TRE ORGAN. SI

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pp--

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-

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.
.

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hJJ J j ll-J E-I17r r r-[5I- Iff-·]7l?:CD

 MODERN SCHOOL FOR THE ORGAN~

.. -:fI=
-=- ))
R L

34. ~ __ ~ __

'~~~;~-gg~$-~-=+~~~~J~;:-~di~ri~~l
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 MODERN SCHOOL FOR TUE ORGAN. sa

- li ~r--=f-"""
~1f'-e:-L! ,--t-r==--~ftfr
r-- ~ tT1±=fr g§f~-=r--Eff=I
-------
_ _ _ _o
-- I
r

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L R

IIANUAL
iS'7. Andante

'_I -
"f"'7
I
Jip .~~~~I~~J=~I
&-J~
I

f c-F-----J
d

PEDAL
I~
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f-~.-
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 •

MODERN SCHOOL FOR TIIEORGAN.

MANUAL.

PEDAL.

- 24--=
~

~ '~J~WJjs 7~7E- ~.
RL

... ... -4

--l -

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p
,
- --~---~~
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 MODERN SCHOOL FOR TRE ORGAN. S3
EXERCISES IN CROSSING TRE FEET OVER AND UNDER EACH OTHE}t.
bi ascending pas~ages, the left foot is generally to begin, will be more available, as wiII appear shortly. The crossing
orossing in the lower octave under, and in the upper 00- aver or under is indicated by having the lette1.·s R and L either
tave, QVer . the right foot. over or under the note to be played. L under 1he thinl note
In descending passages, the right foot has to commence, and of exercise 39, indicates that the left foot crosses under the
crosses in the upper ootave under, and in the lower ootave right foot. ..
over the left foot. In playing on upper keys, the crossing In the exercisesafter No. 43, the decision, in this respeot,
aver will be found safest; yet, sliding, and th~ use of the heels is left to the judgment of the student.

39. L R a a R L L La "-19-
(2: j I l Fi J~ ID 2 J : Int ~14 rffi i r I ~ T}gD

L R L

L a L .. L a -- L

-
Practise this and the following exercise like No's. 13 and 14.
,..-------- - I -==:Il
L

-lI-
L .....
L a
L a

.---------
-'--. ~&=s-=tI
- -I---==r
-6#-
---
-
S6 MODERN SCHOOL FOR TRE ORGAN.

~~_:i§
__. _~==*~=~_ì'!j~-~I;~~ d~.ru_~~~
- -- I I .... ---
~ -1!!JiI- .L:iL. -1!!JiI-

- - __~=--~- Il
L B.

46.

-1!!JiI-
---
~
(Si

~
Z2

B.
I L
I B.
- I
•

L (Si I~- E
c:Iii '"'l'5i-
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L •
 MODERN SCHOOL FOR THE ORGAN. S7

R L
1- r]fJ;;{1

~
-
....
-
.
""2:'T"""----"T.7-.!:.-"f l- ."
-1 !Sa lf _ Fsq .s-

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 MODERN SCHOOL FOR TRE ORGAN.

I: p: ~~
~~B ~~~~--
09-

-r_> 1·-·... r 1- E 1- e(E

R
(t:'" JJ

E2 I ('"J
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D
34.
., .fT-i=+==Fr= ,$1.,-
-Jd-=IJ)-J d . 4--. ~ .
~~ PnI-WI~
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· .
__32:
.... ----
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-t!!iJ- ..,,;- -6J- -(9-

: =,;; pg
L
j l;j JfrW" ffi=T 1E-Et-E ÉI~_D
•

MODERN SCROOL FOR TRE ORGAN. 89

R
-.-.-!l

L R R L L R L
R

~~~ I; m~-Ftl;;; _==:lI

~:~-e:-~. ~=--~ITI~rfj~~i~-~1'r~r~rfI4e~-·~=b~Ljjil- t ---=lI
so MODERN SCHOOL FOR THE ORGAN.

Pedal. R R R L

.
~~M--JI~E~;JJ~·
L L L . L RH
J.

MANUAL.

PEDAL.

I - - 11
 MODERN SCROOL FOR TRE ORGAN. 91

66.
rf1-:
~ r'lì\" "
ìif"
-+-6
-
-
_C;;"L f'7 ~J
~ ~'-""~
(;i,tI
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~
.
~ I

...... .,.,
-- '" • .. ....- --.-.
.
1-- ..oIII! ..
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6'7.
 MODERN SCHOOL FOR TRE ORGAN.

,
,
t

,
L

-"""
69. l......---...
•
<

J
~ -r- ti I
f!!ii

li
(SI

tf
I~..ha

-<
lCl
I~
~."
l
SI
r.;
I ........ r
e
r-
o!5Joo ..l!a..
.p..
o+-
=+= t=
lE
r
(, ~ -
tk- ~ ~ ~
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~~
..
L
R
--=t-~

L
~~

R ..
--l-

•
J J ~

1f'tI
i J l I" I ! I IJ
W-p J Iq~
@ -
( l'if-:=f-
I -I
r~ ~ ~ 1fZ qr I
l.

r
-
22Jj8: =I
<:

~ :3$
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-~
~
: -r;
f ::
......-IL
I
.~
tEI
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.
sdJ
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-
f,J J~ I i ! J Il , J
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-
l
-
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*
 •
MODERN SCHOOL FOR TRE ORGAN. 93

Il "'
(~~~~~P~~~-~
\f@: '--- __t::St<---.
.I~~~It
-

- I

:
~ . . . .\ .:;r
--=--___ ~/'":" :.J ~----......
. s-f F - J

- -
- t
L R R

f
L

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 •
MODERN SCROOL FOR TRE ORGAN.

===_- -==1- - - _Ì ---

-- - -I
--J - --=±__ ~-I-=_-~ -2J - =ì
 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

EXERCISE IN SUBSTITUTING ONE FOOT FOR THÈ OTHER.

71.
(2: j
J
L RL
I E
RL
j
RL
I
t::iI.

R
F
R
r: I f
LR rl
LR
~

L
I
(2: Q r l r ti2I J
LR
R
L
J
RL
I2r R J l
LR ~
! rz44r
LR "l!7
LR ~
D
72.

121 j §~QJ
R
l ~ JaJ
qm:a
-t-r-"t "!'I F~
R
t L R L R L R
't'.

I?~! f J ~ tl3lt t J j JpJlnJJ J~

R L R R L L RLRL RLRLRLRL

73.

MANUAL.
th - =
- I -

- 1--;- 1_ -
L R L

PEDAL.
«
L R

*. .'L*H-~­
. ~:
-- ---e---
96 MODERN SCHOOL FORTHE ORGAN.

.. .. -- !--;J . .JJ
-- ...... - •

1
q;-==t---=-.
...I lei --'t --~==n'
5

-
RL R

-
-----j--, i i

-
. . HL

.....
..
 MODERN SCHOOL FOR TRE ORGAN. 97

MANUAL,

"--~--=-=t=J
-l -
RL

~---=@%l-r
LR

r. tl1
~ LR

t··;-§
LR

l I. ."~ 1~-$$I
il' . v-
--~ ----........ -
] !r,Fh
,

.pg
'-

F:~_b~ tfE==~;:ì
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~~rfrrl fff?ih.tùE-l-1Ìt~
••

. ,

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,I
,J
 "

9S MODERN SCHOOL FOR THE ORGAN.

1 I ~I - - I- ~-~

~-=-=f+l - - - ] - I -==t --t

l ____~

----I
-
-- ---------
---
- - - -

-g -_I -

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
l
too frequently, and when used, great care ought to be taken considered impracticable.
lo properly moderate the stroke given to the keys, which is
apt to be heavier than most pedal actions 'will endure. I Note c.-Letters Lh, signify left hèel; letters Rh, sigmfy
right heel ; letters L and R signify as heretofore, toe of left or
right foot. .
77.

---=-I
 MODERN SCHOOL FOR TUE ORGAN.· 99

Rh L Lll R
R L Lh R Rh L Lh R RIt L Lh R Rh L Lh Rh R

[2:~~-M=t=t=E FI· ETf=-1~ J Jq;J =j d -:JEk=

~__~
RbR
~
=.J;Jq~J r- - LI RRh I
Il L
RRh
LL'r-
t;;;; ahR

Lh
Lh L

St. Lh L a L

~~$ ~~ J r
...I =J-J L R
a
R L R L

~~.

r r r r
L L

.r r
Lh

I~?=§3 ~
il
L Lh R a R Rh L R L R

_LO> Lh ~ ~jSLj~ J'~ J ~ r Et rt Et r i t

~,jj;iJ0r
Jr
. RRhRRIl R. LRIl R Rh R RIl R
~
Rh R
100 MODERN SCHOOL FOR TRE ORGAN. .
. I-I
li~8:5~.~--
~~~~~~--l ~
-4~I~-
_~_.I~_
- ---~._--
-_------i~ "-
--------,.-.---:
------_.:_--

MANUAL.
--~----------------------~- ~~--------------------- " -"
---==_r~---===~~1

PEDAL.

SLIDING FROM ONE KEY'fO ANOTIIER,

This method of playing is to be practised especially with Sliding may be done from any key to another, but is
Ule left foot, for, while using the Swell, the left foot has t.o most· admissible from an upper to a lower key. The mark
take advantage of that mode very frequently. for sliding is aline (--).
87. . ah

J
~J'
88.
_.I
L
a-L
• L a a

~---------------_
aillM band. __

~~~~~I~-~~~~'~~~~~~~~~~=:I
Lef'l hand.-6o'-..........____________- --t9- 1.:1 -t9-
 •
-"-
I
MODERN SCHOOL FOR THE DRGAN. lOl
MIXED EXERCISES.
The following Trios* will, if properly practiced, acquaint tbe stu-
don t ",.ith playing the pedal "Obligato." The right hand plays thc
I 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
llpper part, the left hand tbe middle part, and' the basa is ItIayed on ,there be one)an eight-feet stop j or pedai and mannal coupled together.
Andante.
89 ~ -.. _. '- d: C ! I

=~-~~ff$tfIFJf~
Left hand. 1 I

(~~....--_~-~~-§-i=~~~~ r I '" t:;;,: r Il: §

W,-
Pedal.

- ~I~~'-
R Rh :I:::j=
.
RL

,.

~~: ~7iJ?~~-r1j
rTT l ì · ~I r r r r r ,.,. i--r
I .I I I
_~~ll I I l .
~~~~~~I:t/ iaZJtHOiL J IN r 9:1
-------------~ - -~

I J--
-~ .
-.,..:-=----
'. I

•
•
MODERN SCHOOL FOR TRE ORGAN.
103

l
lOti MODERN SCHOOL FOR THE ORGAN.

i
l
II
>.

J
- -,

97. Moderato. ", .

MAriUA!..
- ..
PEDAL.
•
...-----
5 .
...... ~---....... ...----- ......
-
R
 ~-------_ ---
..

MODERN SCHOOL FOR THE ORGAN. -103

L R L

,
,

L R L Rh R L
-L
R L

g=-- 'J ±:====-- I

-------------
FJ. ~ - IS
~-----------,

--Is l
-

--
.......... ~ "
==1=--
-d-.
,
,...----...... <

-
-t- R Rh
... RL
106 MODERN SCHOOL FOR THE ORGAN'-
98. Moderato. ~

~·RBD·iJ J~~j -- • - N ""--

MANUAL.

PEDAL. ~

-+
-.
R ...... --

___
_ .JIo

~ ~---
l'LI "
'-
I
---"~
- . 5-" -- .

.--' .. . ~ .. l~ . --~~

-~
:1-J! ;;J8=t-TtrrIt E-I r
.. --=--~ . - [=- 7 af=lf f~ ~
~~-J. --E-~~~~:t::fJq:i --==t-=-_ 1-J___~ -gr-~~~J
-
MODERN SCHOOL FOR 'l'HE ORGA~{' 107
 MODERN SCHOOL FOR THE ORGAN;

.-

--- ..
.-
J IJ
-,~ tr
!
- LR·

. (Itf-- . N . ~- - . 1-.

101. Moderato.

IIANUAL.
 MODERN SCHOOLFOR TRE ORGAN. "109

-
~U~~~~~~~~~~I~r~F~§~{ ~~
~~~~~I~~~J!itB zmD~_r..".~"11
113~~E~=I _____ - _
I

~-r. p~:f1fR---ctE-~ L=ta_ J~-J

•
l - - --=- -
- l- ~WlJ~· 5A~ r~
....... "'=-- I IEEJtjJl
, .
O __ ~
-----
........

~F4 r J-R-iBe7J tE j-E ~

.... -~ ~ .. ~ .
:# u f4iJJ 4 d ~;J~ IJ m=i=~~~= - I
110 MDDHRN SCHOQL FOR TRE ORGAN.
I02o#Anda7.llnO.

. (~~W Ifr 5!1(....}aJ, ,m. ~I

MANUAL < . ---
l~,MlJpS@IJ22B·Efi'"ìB~
v ~~ ~+-ij
.~ '-- li

PEDAL. ~!=:' Et1 Wf~ r R . - .

Pt . 1~.J I
Lh L R

• -
. ~$qJ?Ib9 Jf[ti ,IlE! j ;tI r· ~

~~r rWL --=jljt ;;Mm#-~__ ~

. ~.-~dj_~:~.~'~IIE~
... ~Jg,--~~~·12j~~~iF=i~~=±6§~
__~r.~f~~~§~-~~~-
- _ -___ ~~~\L~~~~~-~-~ 4~g~r~ I

. - 0 __ - • _ _ _ . ______ ~ ____ • __ -~----------- -,~--- ---------------.------.--,------- - - - - - - ' --------~-.

 MODERN SCHOOL FOR TllE ORGAN. III

~~ Ll!6~~te---kJ±J I
J±ir rIDer) If r§9) Q

r4q~ tJ_ ---=P_ ---1St- ~ u

I '.
~"i
-; ------ .: "'-;~~.~=s?-!.'V;
. . .*. ~ -.i ~ ... ~.-'" -;.... ..t:JI:-.i ......
_ nt. .
~
r 1)

~~I~~~~~-.§I~J~~I~f~~r~r~grt-ru~·
/~ ... ~.=i21~-f~~·~$.~~~~]~r
~ ~"f ~]J
,.

103. Andantino.
i~ -=~' - ... ~ -;;; "
~~#tm ~R'=#L~-'-d I
MANUAL,

PEDAL.
 · .

II~ 1I10DERN SCHOOL FOR THE ORGAN.

i~- : ft:"_rf~_-
~-~----~--~--~~ J_J -I r3~p;J22I?';rfJ---- Il tCr-==-=I
- ---

....-.- .- -- -1-
C ?f(frf1r i = r t-ff--='" J' n
1

t!~---4j Jj t:-'-I f~*=4@

MANUAL.
)

MODERN SCrrOOL FOR TRE ORGAN. 113·

~.

. 'f... )!

22I
-.
#'
lIti MODERN SCHOOL FOR TRE ORGAN.

1
-
• " P...
--
.,;.,;

I. 1

'~'~~
<
~ f J. IJ ~ I J~.
'
j JJ Jm ... -+...
I§Fr&1f-~

- ...
~
-
.......

-~

j
\
~
~.
s·

..
 MODERN SCHOOL FOR TUE ORGAN. '113

MANU AL.

I ... J
1-· j --
J~~--ilJ
----
I
'EDAL. -
IJfr~ ~:J =- ;;1 ___1

r:
~1it=.tS; '_____
_ - -, .- - c;,'___ _ _ _- (;:iì ' -_ _ __

"" ,
- -f=..
-.'-
-
, ...~-
' ,
.. .. -

, --- '-'
.---_.-...
'-~~' E=IJ
----
I -4:
SI- -
t

...
,f'1
i

·'16 MODERN SCHOOL FOR THE ORGAN.

- ...-.... ~~j~~>~~R~IB~~§L~;~ri~ySi~'~~=~===t~'-r~-~~~..~~.~4
~rlj:fo8g~
-
.-
-----

:: :

... ... -
+---.+- ~
.

- -------
-------
- ------j
--.-._--------------------------

MODERN SCnOOL FOR TRE ORGAN. 117·

EXERCISES FOR TRE LEFT FOOT.
108.

~ ==:r"t ... I i
-r J
LJ&
) J J J
LI! L LI&
}:
L ~
LÌ. J-=i ...
Lh
~ ~~
-+
LII Lh 1':
The other Scalea are played in a 1ike manner.
10'7. ,
l~' J 4 .d ,.
L
.-
Lh L_I
L
r r r r r
Lh L - L Lh L
t---
L
r
L
,.
I
Lh
:::::=::1=
-,t-
L
j
Lh
J ])
L

f" L L L L-
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 re-
mark. that by impartmg instruction how to pIay Pedal and
Swell to~ether. we <io not mean to encourage the 000 frf'quent
use of the Swell, -=::::::::::=- pIaying. ProperIy and discrimi-
natingIy 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. -
 •

IJS MODERN SCHOOL FOR THE ORGAN.

ON OCTAVE PLAYING.

MA.NUA.L, ,.. .........

~rf&j
PEDAL.

......

~
!
r--r l
r ! ~

Ftf ciì Ln p l~_;;-~t ]

..-/ ---~-

'-,
 MODERN SCHOOL FORTHE ORGAN. 119
. ......
--- ~
~ -
.
IV

( 12"'1>
r~ • -
-
Ph ~b-..- • ,,_
dd~
t1 - h ~,_ .h h h
'!.
.
_n
h '.

1
-
-
"'i
-
11
... ~.
.,;
h
... .,;
h
V
----
'f

, M' : fii

V ~
... ~
mp
~ 'J-' -., J--J
( ~
T

p~ I-I

.. ~~~ ~I~!
h h
. • Il b b b .,..."

~ ~.
~

.... I :::e: ... .",

:::e: ~ t -II

.
1~8 MODERN SCHOOL" FOR TRE ORGAN.
 MODERN SCHOOL FOR TRE ORGAN. l~l

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.
113. Andante con moto.
DEST.

- f
p
.r '-.
I •

: I -
PEDAL. - t
i or: LRLR L

- -l ;': -c.
;= -
-

-f\!.
-• .J 11 I

~ . =
r ,

\ ~-. . y tÌftfu ti
(
 DJ.0DERN SCHOOL FOR TRE ORGAN!

.
~ - I - I -- I - -i
,
q;.
- t - =t - =tE -
-~~

....-.._. ._ ..
~

RaZZ.
.. _.- • .- LRLR
.".."... . . . . . . . . . . . . ~L L!; _
[.,..- - L
--------==t
._.
LI l.Il .lth !;;;;-- -RRia -

•>.
___ I - _.~~
f ...

- - -~:=it
LR

ITTItFlI" dIFI.
LR

IF .-.11 ~~l--= 4

•I - \" --=t
\"-f-\!-=::i-=_·

- -
I

MODERN SCROOL FOR TRE ORGAN. 1~3

I - J

- -I - i

aL a a a aL RL

--.-~ 5!=t~ Ifr-ft=ftr-tr-j#tkrtr-trt_rrj jrr-W-H'j--I

a ! ! ! ! !~ - - - - - -

- ?l - --~

-
JlL L a Rh R Rh

-- ~

-
\
 MODERN SCHOOL FOR TRE ORGAN.
..
The following piece!l have been composed and carefully se-l attend to it himself.· The majority of the piecu in tte ~tI
leded with a view to practical usefulness (as opening volunta-
rles), and to a pleasing study. Remarks as to the proper mode
of fingering, etc., are hp.nceforth mostly omitted, because,
I 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
we presume that the student is now far enough advanced to 00 Organs with one Manual.

Man , • • • • • .~-fI!I"
.--
, <

MODERN SOHOOL FOR.'1'HE ORGAN.

-
==-l-~Jl~
c~,- • ~JJI -- 9S---.=tt- ._.'._ . . Y. t
-~
-t!iI. '. -
__
.=-~W
I
-ti4;-
l! I
~I f=t-..
I I
t"'·.~Jr~ ~ j 1 1

r__ t i l . I_~ -&J- ._~ ~ q~

te :ss:m-.-- f~""."!t t $- ""I~ I kt =!
_ ." . . . . ..Gi. •

-- 72--:
___ - . Maa•

.L

• ;f
'~
 , 1~6, MODERN SCHOOLFOR TRE ORGAN.

f ' - rT
Peli. Man.

Man.

~ . ~=-"d J J~.
=----=-1 ~ "I~
_7-t-
j
I~ I
J
MIlD• and Ped. '

~ ~ ~-I~'
c~~ J: .;~. I j = U=rC~;;j ~,' D
1~-tl~l~ I~_ .
-I i J J I I ~ I ,

_ ~ ~3-,::}j~=-~~E~=1
_±:ç:__H=t= '- ~E__~
-- ----- I I ~
Il,. 1'- , , J-- - ~ -
_ ~d~Ejg4_'
",1'1
~-I~j_-EJ+?~~§~~~I
s-.---jj~ ... I I I ... I
:t=t
E.-
I I _- I I
Swell.~ > Gr.Org. " ..._

hoc_-~:4-~t=
~
I -~4
#'

'.fII..~
rr
§f
-'_=:L~==~=f=~-----t=rc===~l
, ~ i-4f2..

\, -~--;:-=E _ _=ì~d-' ~_, t= --::::=f=F=

, =}
 - MODERN SCROOL FOR TRE ORGAN, 127

••
I~S l\IOD~RN SCIIOOr" }"OR TRE ORGAN.
· MODERN SCHOOL FOR THE ORGAN.

i
I j
l
!
130 MODERN SCHOOL FOR TRE ORGA~.

Adaglo.

Ma•• aad Ped.

~"--J
p
I

J~ 4t\d ; =rrl -

<.

/"

2iI

• J
.I~
\
 MODERN SCHOOL FOR TUE ORGAN. 131
OPENING VOLUNTARIES OF A MOURNFUL CHARACTER.

l'~~
, -
9·~i~ .-=-4::l=~-~~=--·-==8E;T-~--_-=!~--:=~!
- I~I ~1-5 :E_~ _______ 3
p-
.
l.argo. ~ _ __ I I
. ·A;::;;_~5f--_. ~=7:_~
1Z:ìZ _===:E -- ==E
!?3
~
-f9-

J~I p:-;jf-9-_E~---===-,--==3:
-f-·~r=~==!F==f=I---~::E

~
-----~

t-=p-====r=i===
--------

.
13. MODERN SCHOOL FOR TRE ORGAN.

largo.

I
i!
r:
i
!

'-" .... ì '---_ _ _-1 I ____ .

..p..

- (515 -~
;--
- =p.~?2::::::::=-.
I r
~

- --=-.,_E,,~
---±=
~ .#

~5j====rl=-J
,,~

;:J l=-~
j
..
-~j
~--~)~
/:

:--J qJ J J~_: LJ. .~. J ..J ~_. ==iJ- ~__

( ~~~-~-~~-~---
---r - -
----F--- ....:..~-------~~~~----Jl
-------
-=.,......... ---
-~----.--
-5 --~~-
,,~
 MODERNSCHOOL FOR TRE ORGAN. 133

Moderato.
 L

>{
la4 MODERN SCHOOL FOR TRE ORGAN.
\
VOLUNTARIES OF A 10YFUL CHARACTER•

. ,}:--"~. --=1-~-~-~-!f-
-~-I-I--~I--:::::' =~j~~§~=f=-!f-~=~==i~.
iIG-:J=Z=q~ ~.~=~:;t-f_::;:1--J=3=~-~~=.-==+
.- -------~--=FC--------=l-
M Jderato I - -.-.., .-,,-
Gr. Or;: -----.
"'--- ~ --::;:::--------7.. __
.
,A:~-~ - . ~j"" ~.- . È- I - '1',
~:e:__ -~
F==_-
,...St:2 ~J .-'-~
----L~
---" _ _ _ __ -I
~""'""--
Maa. &Dd Ped. "

r
I
i

Hl ... j
=~-1!;====+====t
-t-e-==~_+ l-~ ~§
-------~~ ] ff q : . JJ . . ----:-~~
d
.. (Sì

Allegro. I I
Gr.Org. __ ~ I Il
~~ - F IE;t lra~w=t Man.

.~~ r-=I a
I
. -i----~ .
::z.;!
l'ed.

~""
,!
: ,
 MODERN SCHOOL FOR TRE ORGAN. 13:1

, .
136 MODERN SCHOOL FOR THE ORGAN.

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

CONTAIN1NG

AND\
.
I
COPIOUSCHOICE OF ORGAN COMPOSITIONS,

CAREFULLY SELECTEnFROMTHE '

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

FOR DIVINE SERVICE,PllIV'1TEPRICTIVEIND "UONtJERTS•

•
,
, I
I
i
'"l
13S- MODERN SCHOOL FOR TIIE ORGAN.

COMBINATION OF STOPS.
We suppose that every student has made sufficient pro- [Specification No. 1.] of one Manual with nine stoP!, ane:
gress in the study of mathematics to know that an Organ of also on an Organ [Specification No.2.,] of two Manuals witn
29 Stops, offers 'inexhaustible resources for combinations. We twenty-one Manual Stops.
suppose, further; that every student would reject Il vast ma- - The great usefulness of the Stopped Diapason, being, al
jority of a11 these possible combinations, as too unmusical to will be seen, an essenti al ingredient of almost alI the follow-
be listened to-but we ha ve also reason to suppose that not a ing combinations, is apparent, and we recommend fo Org-an
fe\\' of our young friends are unaware of t.he importance and builders to voice it.as it ought to be, full, mellow, and free oi
great utility of this branch in the art of Organ-playing; yea, reediness, and we recommend it to Organists, to use it ~s a
e\:en otherwise most competent teachers and authors of meth-
ods for the organ have neglected to give that degree of atten-
mean!! of seasoning almost every combination ..
List of combinations on the Manual, afford('d by an Or.-;an
•
tion to this suhject it certainly deserves, for we cannot find of nine Manual Stops. See Specification No. l.
even any mention made of it in "ll'ading" Schools for the 1. Open Diapason alone.
Organo 2. Opln and Stop Diapason
In the attempt to give a few hints on this subject, we are 3. - Dulciana and Stop Diapason.
met with one great obstacle, viz: the prevailing confusion in 4. Dulciana and Flute.
the names of the Organ Stops, entirely different tone quali- 5. Stop Diapason and Flute.
ties being found in different Organs, under the same name. 6. Viola and Stop Diapason.
A careful reading of the description of Stops in Part 1., wìll 7. Sto'p Diapason, Dulciana and Flute.
• somewhat diminish this difficulty, the more so, because 8. Open Diapason, Stop Diapason an~ Flute. •
we shall confine ollrselves to stops generally known and 9. Open Diapason, Stop Diapason and Princij>al.
made, if not equal, yet very similar by a11 builders, and lO. Viola, Dulciana and Flute.
cOlltained in all modern Organs of any pretence to good qual- 11. Viola, Stop Diapason and Flute,
ity. 12. Open Diapason, Stop Diapason, Principal and Fifteenth.
"
Combination of stops is analagous with instrumentation in 13. Open Diapason, Stop Diapason, Viola, and Principal.
composing for an orchestra. A complete orchestra is, as our 14. Open Diapason, Stop Diapason, Dulciana, VIOla Prin'
readers may be aware of, composed of three ditrerent classe s, cipaI, Frute and Fifteenth.
(technical term-Quartettos) of instruments, viz: stringed To the Iast combination may at pleaimre be a:dded the
instruments, wooden wind illstruments, and brass instruments. Twelfth. or Twelfth and mixture.
A11 these i~struments are fully represented in a .well planned In giving these combinations we do not pretend to havl!
flnd well voiced Organ: thf' stringed instruments by t~e Viola exhausted a11 the resources, but merely to give a number 01
di Gamba, Geigen-principal, Salicional; the wooden wind useful, judicious combinations.
instruments by a11 thc varieties of Flutes, by the Stop Diapa-
son, Clarabella, Melodia, and by the reed stops, Hautboys, SPECIFICA TIO ~ Ko. 1.
Clarionet, and Bassoon; the brass instrumentll by the Trum-
pet, Trombone and the Clarion. . ORGAN OF NINE MANUAL AND ONE PEDAL STOP
aver and above a11 these slops, stands the crown of every Manual.
Organ, unrepresented in thfl most complete royal orchestras, 1. Open Diapason.
the stop emphatically made to sound the glory of the AI- 2. Stop Diapason.
mighty, and to penetrate to the innermost fibre of the human 3. Dulciana.
heart-'· The Open Diapason. " 4. Viola di Gamba.
'~o unite ~hese ~iflerent sh~des of tone-qualities for pro- 5. Flute.
uucmg certam deslred l'trects, IS the great secret of good com- 6, Principal.
binations of stops. 'l.'he main principles for good instrumen- 7. :Fifteenth.
1atlOn, may also be lald down for good combinations of stops ; 8. Twelfth.
for, just as sure as a gi venpassage would be of great effect 9. Mixture.
w~en execllte~ by stl-inged instruments, the same passage Pedal : Subbass.
mlght become mdltrerent, or prove even a totalfailure, when
executed by wind instruments; just as senseless as it would SPNCIFICATION NO.2.
be to make Double Rass and Flute (without any other instru-
ments,) perform a unison passage, (unless it be for thc sake ORGAN OF TWENTY-ONE MANUAL AND EIGHT PEDAL STOPIl.
of oddness,) just as much out of good taste would it be to Great Organo 15. Dulciana, 8 feet
draw a sixteen-feet and a two-feet stop without any eight and 1. Doub. Op. Diap. 16 feet. 16. Clarabella, 8 "
four-feet stops. 2. Op. Diap. 8" 17. Fagotto, l1nd Oboe~ 8 "
As generai rule~ for go od corribinations, we therefore lay 3. SL Diap. 8 tone. 18. Gemshorn, 4 "
down the fol!owmg: 1. _Draw for solemn passages full 4. Viola di Gamba 8 feet. 19. Flute d'amour, 4 "
tU~le? foundatlOn stops, (toremost Op. and ~t. Diap.,] for 5. Harmonic fiute, 8 " 20. FlautiilO, 2 "
bnlhant passages add r~eds or small stops, [Principal Fif- 6. Trumpet, 8" 21. Mixture, 3 ranks, 2" .~
j
teenth.] 2. "':'hl'n playmg harmony, the predominant stops 7. Principal, 4" Pedalo
are to be the etght feet jlue stops, to which, in order to in-
Cl-ease the power,first the smallel-jlue stops, then the reeds
Ilnd lastly the mutation, [Twelfth] and compound stops are t~
be Ildded.
8. Flute traverso,
9. Fifteenth,
4
2"
lO. Cornett, 4 ranks., 5,~"
11. Mixture, 5 " 2 ~"
" 22. Contrabasso,
23.
24.
25.
Violonbass,
Subbass,
32 feet
DOllble Op. Diap. 16
16
16
"
"
"
l r

3. Double stops drawn for the Manual, will require dis- Swell. 26. Trombone, 16 "
persed harmony to be used. 12. Double St. Diap., 16 feet. 27. Open Diap_ Bass, El ..
, To go more ,int~ details, :we give a comprehensive list of
ditrelent eombmatlOns, whlCh may be made on ari Organo
13. Geigen Principal, 8" 128. Violoncello, .8 "
14. Sali0il)nal, 8" 29. Flute Bass, 4
,
I
~
 ....
MODERN SCIIOOL FOR THE ORGAN. 139
,
Organs with two Mannals and complete Pedal, becoming 80 generally in- Great Organo
troduced, wc believe it to be of some service to stndents to enumerate here NO.l'lpeti
a number of cbaracteristically different combiuations, for practical use as 1. Donble Op. Diapason, 16 feet, two lowest octaves DC 'Ilinc, bai ance
well aB for models offurther combinations. As formerly stated, (page 138) the of rich metal - • - - - - - - _ 56
re80lirce for new combinationa with Buch a llUmber or stops as Specification 2. Op. Diapason, 8 foot, lower octave or zinc, balance oC ricb metal 56
No.2 presenta is inexhaustible, and we Iimit onrselves, of c~urse, .only to 3. Stopped Diapason, 8 feet tone, of wood, • • • • • 56
Bnch combinations as will be fonnd mnaically correct, and whlch mlght be 4. Vienna FInte, 8 feet, of wood. • • • • • • 5..
made use of in divine service as well a.~ in concert playing. 5. Viola di Gamba, 8 feet, Iower part of zinc, balance oC rich metaI, 56
6. Trumpet, 8 foot, shalloti; of zinc, reed and sprin!rB oC brasa, • • 56
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
COMBINJ.TIO NS. 12. Twelfth, 2,% feet, of metal, • • Ci6
13. Cornet, 5~ feet, three ranks, Iower octave oC wood, balance or
~&p$ under Nos. 5 and 8. (Play disperBed barmony, or play it as solo witb metal - - • 168
Nos. 15 and 16, aB accompaniment. Pedal,24 14. Mixtnre, 2,% feet, fonr ranks, oC metal. 224
..
'
" "
and 27.)
1 and 4., play dispersed Harmony, or as solo with accom-
15. Super octave, 2 feet, of metal, - 56

. " "
paniments.
1, 3 and 6, for 801os, accompaniment with stopa 13 and
anù 16. Pedal, 22, 23, 27.
Choir Organo
16. Double Stop Diapason, 16 feet tone, of wood, • - - 56
.. 1, 3 and 4, for cheerful solo strains, accompanied by 16, 17. Op. Diapason, 8 feet (or Geigen Principal 8 feet) or zinc and metaI, 56
"
.. .. ." 3 and 9)
14 and 18. (Swell closed.) Pedal, 25 and 28. 18.
19.
Dolce, 8 feet, soft voiced, of metal, - -
FInte, 8 feet, of wood, full and mellow voiced,
56
• 06

.. .. ..
or lfor brilliant solos, accompanied by 14 and
l and 7 16, or by 13 and 15. Pedal, 25 and 28, or if
20.
21.
Clarionette, 8 foot, free reed-(tubes oC zinc,)
Stop Diap., 8 foot-tone, of wood, - -
ll6
• 56

. ...
or obligato : 25 and 26. 22. Harmonica, 8 feet of wood, very 80ft. voicedj - 55
Il " land 8 23. Flute travers, 4 feet of wood, overblowing from C, • 56
" 1,2 and 3, for solemn strains in dispersed Harmony, or 24. Gemshorn, 4 feet or. metal, - 56
for 8010s, sucb as sbown on page 13, (tune, 25. Dolce, 4 feet (the octave of No. 18,) - • 56
. Duke 8troot,) accompanied by 13, 14, 16 and 26. Piccolo,2 feet of metal, (clear intonation,) 56
~ 18. Great Org. and 8well conpled togetber. 27. 8esquialtera, l ~ feet, 3 ranks, of metal, 168
Pedal, 22, 23, 24 and 27.
8welZ Organ.
]t'or combinationa on tOO 8well o.lone, we recommend :
Stops No. 13 alone .
28. Grand Bourdon, 16 feet tone,ofwood,
29. Op. Diapason 8 feet-(like No.2.) - - • • · 56
56
" .. 14 alone } for Adag,ioa and similar music in cIose DC dispersed 30. Stop'd Diapason, 8 feet tone, of wood, - • - · 56
" "13 and 16 Harmony. Pedal: 16 and 8 feet stops. 31. Salicional, 8 reet, lower octave of wood, balance oC metal, • 56
..
""
..
"14 and 16
"16
"16 and t
f8 Cor sweet Cantabile straina.
and 19
.. 15 and 19
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,
• -
-
56
56
56
56
: :
..
g:~~! f~r mnsic or a Bomewbat monrnful cbaracter; play
"12 and 15 dlspersed Harmony. Pedal: 22 and 24.
36. 8pitz finte, 4 feet of metal, -
37. Flute d'Amour, 4 foot of wood,
- 56
~6

.. Il16 and 17} will.answer for harmonic playor for 8Oloa, accom-
38. Flautino, 2 feet of metal, -
39. Nasard (TweIfth) 2~ feetof metal,
•
· S6
56
.. "12 and 17 pamed on Gr. Org. by 3 and 5, or 3 and 8. Pedal:
16 feet stops.
40. Mixture, 2 feet, 4 ranks, of metal,
· 22
lf the stops are VQiced as tbey ongbt to be, the above combinations will Pedal.
aftbrd Bufficlent variety to answer almost every case in tlburcb, and to a
great cxtent in concert playing. 41. Contra Basso, 32 feet of wood, 27
.·
42. Bombardon, 32 feet, reed; _ 27
43. Donble Op. Diapason, 16 feet, of wood, 27
44. Violon Bass, 16 feet, of wood, -
45. Snbbass, 16 root-tone, oC wood, •
•
• • · 27
27

SPECIFICJ.TION. No. 'S.

46. Trombone, 16 feet, reed, (tu bes or zinc,) •
47. Serpent.16 foot-tone, (freereed oCzinc and brass,)
• · 27
27
48. 'frumpet, 8 feet, of zinc and brass, 27
49. Octavbass, 8 feet, of zinc, • 27
Ors \n or three Mannals with 40 Mannai and 11 Pedal'Stops, (calculated 50, Violoncello, 8 feet of wood, 27
.' for the want oC Congregational singing.) Compass of ManuaIa 51. Flntebass, 4 feet ofmetal, • 27
56 not.es, of Pedals, 27 Dote!:l, begicprg with O. N umber of couplers to be 6.
 •

148 MODEUN SCIIOOL FOR TRE. OltGAN.

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 MODERN SCHOOL FOR TRE ORGAN. 149

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160 MODERN SCHOOL FOR TUE OItGAN.

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166 MODERNSCHOOL FOR TRE ORGAN.
- STABAT MATER DOLOROSA.
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 MODERN SCHOOL FOR TRE ORGAN. 167

Allegro .

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AVE VERUM CORPUS.
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MODERN SCHOOL FOR THE ORGAN. 169
FUGATO 'OR FULL ORGAN. RERZOG

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 MODERN SCROOL FOR TRE ORGAN. 173

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