Syllabus For Choral Conducting and Organ Classes in The Church of Jesus Christ of Latter-Day Saints: Under Direction of The General Music Committee

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SYLLABUS
FOR
L^noi*at Lônduciina
and
'9' added
IN
THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS
Under Direction of the

GENERAL MUSIC COMMITTEE
Prepared by
WILLIAM M. FOXLEY
Field Representative
Published by
DESERET BOOK COMPANY

Salt Lake City, Utah
1966
£6
Copyright 1966
by
DESERET BOOK COMPANY
Printed in the U.S.A.

by
DESERET NEWS PRESS
TABLE OF CONTENTS
Page
Foreword
Textbooks for the Courses
Church Music Policy Reference
SECTION l-BASIC INFORMATION
Qualifications for Certificate
Study Suggestions to Gain the Most from the Courses
Hymn Rehearsal Suggestions
Note Ratio Charts
Musical Terms and Definitions
SECTION ll-CONDUCTING
Hints on Conducting 9
Course Assignments
I 10
Course Assignments
II 12
Guide Questions 14
Chapter Summaries (2-7) 23
Conducting Quiz 27
Answers to Conducting Quiz 35
Answers to Guide Questions 36
Instructions for Teachers of Conducting Courses 38
Bibliography 39
SECTION lll-ORGAN
Practice Reminders 43
Practice Record 43
Hints on Playing the Pedals 44
Hints on Phrasing 44
Prelude Pointers 45
Course Assignments
I 46
Course II Assignments 49
Guide Questions 52
General Information Quiz 54
The Role of the Organist in Accompanying 56
Transposition— Explanation and Examples 57
Modulation— Explanation and Examples 58
Organ Registration— Pipe and Electronic 61
Answers to Guide Questions 68
Answers to General Information Quiz 68
Answers to 'The Role of the Organist in Accompanying' 69
Organ Quiz 71
Answers to Organ Quiz 79
Practice Cannon's, The Organist's
Instruction for
Manual, and Nevin's First Lessons on the Organ. 80
Hymn Playing Suggestions and Pedal Examples 82
Instructions for Organ Teachers 111
Bibliography 112
APPENDIX Course for other organ methods; answers

to Cannon, The Organist's Manual, guide
questions. 113
FOREWORD
This SijIIabus has been prepared to present lesson material that can
be used effectively in teaching the choristers and organists of The Church
of Jesus Christ of Latter-day Saints.
Grateful appreciation is expressed by the writer to the many stu-

dents who have helped to guide the organization of the lesson plans;
to Dr. Leroy J. Robertson, executive chairman of the Church General
Music Committee, and his staff for their support; to the late Ralph E.
Rush and Dr. Phyllis Glass, chairmen, and also the members of my
guidance committee in the Music Education Department of the Uni-
versity of Southern California, who aided through their guidance the
writing of this Syllabus; and to myNorma, our children, my parents,
wife,
and father-in-law, Dr. Irvin S. Noall, for their support, encouragement,
and seemingly endless typing and reading of manuscripts.
William M. Foxley
June, 1966
TEXTBOOKS FOR THE COURSES
1. Cannon, Tracy Y. The Organises Manual.

Salt Lake City, Utah: The Deseret Book Co., 1963.
2. Chapel Anthems, Vol. 1

Salt Lake City, Utah: The Deseret Book Co., 1943.
3. Cornwall, J. Spencer. Fundamentals of Conducting.

Rev. Ed. Salt Lake City, Utah: Deseret Book Co., 1965.
4. Heller, Ruth, arrang. & ed. Sing Unto God!

Special ed. printed for Church of Jesus Christ of Latter-day Saints.
Chicago: Hall & McCreary, 1952.
5. Heller, Ruth, arrang. & ed. Worship Him with Song.

Minneapolis. Schmitt, Hall & McCreary Co., 1959.
6. Hymns. Church of Jesus Christ of Latter-day Saints.

Salt Lake City, Utah: Deseret News Press, 1964.
7. Nevin, Gordon B. First Lessons on the Organ.

Bryn Mawr: Oliver Ditson Co., 1923.
8. Recreational Songs. Salt Lake City, Utah: The Deseret Book Co., 1951.
Organ Courses 1 and II: 1, 6, 7
Conducting Course I: 3, 6, 8
Conducting Course II: 2, 3, 4 or 5, 6, 8
CHURCH MUSIC POLICY REFERENCE

For current information concerning Church music policy contact the
General Music Committee, 79 South State Street, Salt Lake City, Utah.
The hymn examples used in the organ section are with the permission
of the copyright holder.
Section I
dâsic ^nftonnuuon
tit
\csûatlficationA for Lêrtificati
To qualify for a certificate for classessponsored by the General Music Com-

mittee, the following must be accomplished:
1. Know the musical standards and policies of the Church and put them
into practice.
2. Have a wholesome class attitude.
3. Practice carefully and systematically.
4. Attend at least nine classes, with valid excuses for those classes missed.
Classes missed stiould be made up at the convenience of the instructor.
5. Show improvement in musical skills.

STUDY SUGGESTIONS
TO GAIN THE MOST FROM THE COURSE
1. Study each assignment until you thoroughly understand it.
2. Mennorize the essential points in each assignment.
3. Apply in your practicing the material learned from the text.
4. Practice daily, to gain poise and confidence.

5. Be humble, prayerful, and persistent in your efforts.
6. Set yourself on a schedule for a regular time to study and practice each day
2-
HYMN REHEARSAL
PURPOSES: TO CHALLENGE AND IMPROVE ABILITIES, RAISE THE STANDARD
OF CHURCH MUSIC, AND TO INCREASE TESTIMONIES
BEFORE THE REHEARSAL:
1. Have hymn memorized; don't leave preparation until last minute.
2. Plan more material than needed; utilize full time. If more time is available
you be able to use it effectively.
will
3. Let the organist know procedure; don't surprise him at rehearsal.
4. Write thoughts down so your ideas will be clear. Sermons are not en-
couraged —
remember, they came to SING!
AT THE REHEARSAL: (WORK ON HYMN UNTIL MEMORIZED)
1. Have self-confidence. In addressing congregation, leave out words "I and
me". Don't waste time apologizing to them; proceed with the rehearsal.
2. Begin each new rehearsal with a thumb-nail summary of the preceding one
to refresh the singers' memories.
3. Maintain a pleasant atmosphere and reverent spirit; the rehearsal time is
NOT the time to "pep" up the group.
4. When new hymn is introduced, use an interesting, but short introduction.
Find words that will stir their imaginations.
5. Motivate congregation with your own enthusiasm, don't scold them if they
don't respond. Find a way to motivate them.
6. It may be embarrassing to ask congregation for their favorite numbers.
A better plan is to have them see you personally and make a list. Often
the organist is hard put to play such numbers. Don't embarrass yourself
or the organist. Let their favorite hymns come as a reward for a good
job done.
AFTER THE REHEARSAL:
1. Evaluate your response in view of your previous plans immediately after
the rehearsal. Seek insight into your own problems, and help where
needed. ALWAYS TRY TO IMPROVE.
SOURCE MATERIALS FOR THE VARIOUS ORGANIZATIONS:

Sunday School, Senior: instructor articles. Convention helps.
V\/orship in Song. C. Johnson, Des. Book Co.
Junior: Instructor articles, Convention helps.
A Guicie for Chor. & Org. in Jr. Sunday School.
July 1962, Des. Bk. Co.
Sing a Story. Elliott, Standard Pub., Cincinnati, Ohio
Relief Society, Music Leadership in Relief Society. Madsen-Croft Relief Society
General Board.
M. I. A., Current Music Manual and Supplement, Gen'l Bd. MIA

Training Program for MIA Directors, Gen'l Bd., MIA
Lefs Sing, Gen'l Bd. MIA.
Choose an Activity, Gen'l Bd., MIA.
Primary, Teaching the Gospel Through Music, Primary Gen'l Bd.
Moselle Renstrom's books: Children Sing packets.
Finger Plays, Colina, Standard Pub. Co., Cincinnati, Ohio.
GENERAL. Fundamentals of Conducting, Cornwall, Des. Book Co.

Stories of LDS Hymns, Cornwall, Des. Book Co.
Teaching Techniques, Larsen, General Bd. MIA.
Fundamentals of Leadership, Bennion, Gen'l Bd. MIA.
"MAKE EVERY REHEARSAL INTERESTING, EDUCATIONAL, DEVOTIONAL, AND

ENTIRELY FREE FROM DISTRACTION" - J. S. Cornwall
-3
NOTE RATIO CHART
Signature
.
TERMS DEFINED «
GENERAL THEORETICAL TERMS:
1. Accidental — b, X, bb or
#, fc] that temporarily alters note.
2. Alia breve -
2/2 time ((J:).
3. Clef — Symbol that indicates pitch.

4. Cue-beat — Chorister's preliminary movement.
5. Double flat — Lowers note one full step .
6. Double sharp — Raises note one full step.

7. Duple meter — Two beats per measure.
8. Dynamics — Changes in sound volume.
9. Hymn — Song of praise or adoration to Deity.
10. Interlude — Music played between verses of a hymn or song.
1 1. Interval — Distance between two tones.
12. Inversion — When any tone but the root is in the bass.
13. Ledger lines — Lines above or below the staff.
14. Measure — A group of regularly recurring accents.
15. Meter signature — Numbers at beginning of music that indicate the amount
of beats per measure and type of note getting one beat.
16. Note — Written symbol for musical sound.
17. Phrase — Musical thought comparable to sentence of speech.
18. Phrasing — Playing each voice part properly.
19. Pitch — The high-low quality of a tone.
20. Scale — Group of notes arranged in ascending or descending order.
21 . Slur — Two or more notes played legato.
22. Staff — Lines and spaces on which music is written.
23. Tie — Two notes of same pitch, sounded only once.
24. Transposition — Playing or singing a piece in a key other than the key it
is written in.
25. Triple meter — Three beats per measure.

26. Triplet — Three notes played in time of two of same value.
TERMS INDICATING TEMPO, VARIATIONS OR DIRECTIONS.

27. Accelerando — Gradually increasing speed.
28. Ad - Freely.
libitum
29. Adagio — Slow — between andante and largo.
30. Allegretto — Tempo between moderate and allegro.
3 1 Andante — Walking, between allegretto and adagio.
32. Con — with.
33. D. S. al fine — Return to sign.
34. D. C. — Return to beginning.
35. Diminuendo — Gradually growing softer.
36. Dolce — Sweetly.
37. Larghetto — Slightly faster than largo.
38. Lento — Slow.
39. Poco a poco — Little by little.
ORGAN TERMS.
40. Console — Housing for keyboards, stop tablets, etc.
41. Crescendo pedal — Pedal that gradually adds stops.
42. Expression pedal — Changes volume level of stops in use.
43. Improvisation — Composing music extemporaneously.
44. Mechanical stops — Non-speaking stops.
45. Mixture — Stops w^hich combine foundation and mutation ranks.
46. Mutation — Pipes tuned to pitch of one of the harmonics of the key to
reinforce certain overtones.
47. Piston — Button which changes stop combinations.
48. Registration — Stop combination.
49. Speaking stops — Stops v^hich have pipes, sound.
50. Sub coupler — 16' pitch sounding one octave below normal pitch.
51 . Super coupler — 4' pitch sounding one octave higher than normal.
52. Synthetic stop — Two or more stops put together to make up a new tone.
53. Toe-studs — Duplication of pistons, operated with the feet.
CONDUCTING TERMS.
54. A capella — Unaccompanied.
55. Advancement — A beat that commands attention and response.
56. Articulation —
Combining of vowels and consonants into words.
57. Blend — Sounding as one voice.
58. Consonants — Vocal sound produced by friction.
59. Diction — Proper enunciation, articulation and pronunciation.
60. Intonation — Singing in tune.
61 . Nuance — Subtle changes in volume and tempo.
62. Tone quality — The quality with which the choir sings.
63. Velocity — Speed.
6-
1
Section /
(ônducun f
-
-1
-8-
HINTS ON CONDUCTING ^
DIRECT WITH DIGNITY
This suggests Personally:
a. Stand erect, where everyone may see you, including the organist.
b. Stand still, not moving feet or knees or walking around while conducting.
c. Use the fore-arm to conduct, limited use of wrist. Elbow is not in the air.
d. Radiate in your face and voice the mood of the song. Don't be a "poker
face" conductor.
e. Avoid excessive gesticulations, don't duplicate the beat-pattern with the

left hand as a general rule.
This suggests Musically:
a. Know the proper cue-beats and beat patterns.
b. Select a proper tempo, not nagging or driving the congregation, but lead-
ing them.
c. Use a baton for the congregation.
d. Practice ahead of time with the organist so there will be no conflict nor
surprises.
e. Show your awareness of the various types of hymns by not leading them
all the same way. Direct in the character of the hymns and occasion.
f. Show respect and courtesy toward congregation and organist.
g. Be in your place well ahead of time, so that you might set the proper
example of reverence during the devotional prelude.
h. Be humble, but efficient in your calling.
-9-
COURSE I CONDUCTING ASSIGNMENT SHEET
FIRST MEETING
Organizational meeting; review of courses given; schedule of classes arranged; completion
of quiz; collection of fees; distribution of class materials; explanation of 1st assignment.
Courses meeting 3 or more times per week Courses meeting once or twice per week
SECOND MEETING, 1ST ASSIGNMENT

1.
Courses meeting 3 or more times per week. Courses meeting once or twice per week
COURSE II CONDUCTING ASSIGNMENT SHEET
FIRST MEETING
Organizational meeting; review of courses given; times and days of classes arranged;
completing of inquiry and registration cards; collection of fees; distribution of class mater-
ials; explanation of 1st assignment.
Courses meeting 3 or more times per week Courses meeting once or twice per week.
SIXTH MEETING, 5TH ASSIGNMENT
1." Discuss chapters 17-20 from Cornwall. 1. Discuss chapters 17-20 from Cornwall.
2. Answer guide questions. 2. Answer guide questions.
3. Be prepared to direct pages 26-35 in Chapel 3. Be prepared to direct pages 26-35 in Chapel
Anthems. Antlierns.
SEVENTH MEETING, 6TH ASSIGNMENT

Be prepared to direct pages 33-38 in Worship Be prepared to direct pages 33-42 in Worship
Hivi with Son^, or pages 6-10 in Sin^ Him with Son^, or pages 6-13 in Sing
Unto God. Unto God.
EIGHTH MEETING, 7TH ASSIGNMENT

Him with Song, or pages 32-37 in Sing Him with Song, or pages 31-37 in Sing
Unto God. Unto God.
NINTH MEETING, 8TH ASSIGNMENT

Him with Song, or pages 38-44 in Sing Him with Song, or pages 38-44 in Sing
Unto God. Unto God.
TENTH MEETING, 9TH ASSIGNMENT

Joint meeting of all participating in courses
a. Discussion of Church music policies
b. Workshop with Organists
ELEVENTH MEETING, 10TH ASSIGNMENT

1. Review of material covered during course
Be prepared pages 3-14; 21-26 in Worship Him
to direct toith Song or
pages 44-47; 58-63 in Sing Unto God.
TWELFTH MEETING, 11 TH ASSIGNMENT

1. Discussion of review material
2. Final class program
3. Graduation.
12TH ASSIGNMENT
Keep improving yourself by:
a. Reviewing the text
b. Continuing to practice correctly
c. Keeping current with the latest church music developments.
13
-
GUIDE QUESTIONS FOR CHORISTERS

based on 1965 Revised Edition of
Fundamentals of Conducting by J. Spencer Cornwall
CHAPTER 1 -
1. Explain the three definitions of the term beat. -_ -
2. Define the functions of the cue-beat. .-.-
3. Define the term measure. - - -
4. Should each verse of a hymn have a cue-beat? ._ -
5. Explain how to hold the baton properly. .- -
6. The time signature (meter signature) indicates — -..- -- —

CHAPTER 2 -
1. Memorize the different types of song beginnings.
2. Explain where one sings the beat-pattern when the various types of song
beginnings are used. — - -- - -•
3. How many counts must be in the first measure for each type of song
beginning?
4. Explain the functions of the cue-beat.
CHAPTER 3 -
1. A hold may occur in one of two places. They are _. ,
2. How long should a hold usually be held? _
3. What is generally done with a hold at the end of a phrase?
Give an example of a hymn where this occurs.
4. What is generally done with a hold occuring during the phrase?
Give an example
5. When would a hold be cut during a phrase?
Give an example
6. When is a hold absorbed at the end of a phrase?
Give an example
14
7. What is the test as to whether a hold should be cut or absorbed?
8. What is generally done when a hold is followed by a rest? _
9. Should each verse of a hymn have a cut-off? _.
10. A cut-off movement during a composition (but not at the end) serves two
purposes. They are .-
11. The direction of the cut-off movement during a composition depends on
12. Two basic mechanics of the release are — ., -
13. The proper way to cut-off depends on
14. The functions of the introduction are
15. The functions of the interlude are
16. If an interlude is used, it should be after the verse
CHAPTER 4 -
1. Rhythm is felt, not _
2. Divided beats are used for the purposes of
3. Draw eight one-beat note figures in 4/4 time. Two two-beat note figures
in 4/4 .
4. Write examples of:
a. half note d. 8th note e. 16th note
b. quarter note . c. dotted 8th f. dotted quarter
5. A dot by a note increases its value .. ._
6. Two dots by a note increases its value _ _
7. Draw the divisions of the 2, 3 and 4 patterns _-.
8. A quarter note equals counts in 3/4, _ . in 4/2, in 12/8.
9. A dotted quarter note equals counts in 2/4 time.
10. What does a sharp do to a note? __- a double sharp?
a flat? a double flat? _..
11. Define the term beat-note. -.
- 15-
CHAPTER 5 -
1. The tempo is indicated and fixed by
2. When is the tempo right?
3. Six items the chorister considers in setting the tempo are
4. The variations of the regular tempo are .
5. Arrange in proper order from fas^ to slow.
-^ - adagio , _ moderato allegretto andante allegro.
6. How are the metronomic markings used which are found on the hymns?
7. How is a tempo set if there are no metronomic markings or musical terms on
the music? ._
CHAPTER 6 -
1. Are there any relationships between tempo and dynamics? ___ If so,
please explain.
2. What are dynamics?
3. The dynamic levels listed in the text are listed below. Number in proper
order from soft to loud.
p ff mp mf pp _f
4. How may the chorister signal dynamics with the left hand?
5. A melody may be defined as
6. If in doubt as to how many dynamics to use in a piece of music, it is better
to have too many or too few? __..
7. What does the figure 8va above or below a note indicate? .
8. C indicates (j: indicates
9. Draw two kinds of quarter rests and a quarter note.
10. The lines and spaces of the piano staff are ..._
11. The 3 general classifications of hymns are .._
12. Three kinds of accents are
- 16-
CHAPTER 7 -
1. What should determine the phrasing in the hynnns: The words, the music or
both?
2. What does phrasing mean when it is used in the singing of hymns?
3. How is phrasing indicated with the baton to show:
a. a breathing place b. a bridge from one phrase to another?
4. Draw the following notes and their rests: 16th...., half...., whole,.., 8th
5. How is the letter name of a sharp key found? a flat key?
6. Explain how a slur mark, a tie and a phrase differ.
7. A natural sign by a note indicates
8. Is the presence of a comma by a word always a valid reason for a breath?
9. Factors to look for in the interpretation of the melodic line are
10. Explain the two definitions of the term phrase as listed in the text..
CHAPTER 8 -
1. Give two examples of hymns or songs for each of the categories of prop-
erties of beats not found in the text
2. What is the difference between D.C. and D.S. al fine?
3. A dotted quarter note equals counts in 9/8 time.
•4. The conductor's 3 pattern may go to the pattern with 3 counts per beat.
The conductor's 6 pattern may go to the pattern with 3 counts per beat.
The conductor's 12 pattern may go to the... pattern with 3 counts per beat.
5. Eight uses of the left hand are ...
6. Six specific suggestions for conducting congregational singing are
17
7. What are the chief differences between community singing and congrega-
tional singing?
8. Is it advisable to hold the book while directing? .
9. Two main factors to consider for the hymn repertoire of the congregation
are -
10. One procedure for teaching a new hymn might be .-..
1 1. The purposes of the Sunday School Hymns of the Month are
12. To properly organize a choir or chorus, the procedures are: _.
13. Important points for analyzing hymns musically and textually are
CHAPTER 9 -
1. Four ingredients of a good rehearsal are?
2. Make two different seating plans that might be used for a choir
3. Where should the instruments be placed for an ideal choir situation?
4. Two ways the roll could be called are
5. The duties of the librarian are
6. What are some of the ways a rehearsal period might begin?
7. Three ways new music might be taught are
8. Two ways to review old music are
9. Why is 'a cappella' singing useful to a choir?
18-
10. Where is the best place to correct mistakes made while the choir is singing,
at the end of a phrase or the end of a piece? Explain
11. When a piece needs to be repeated should one say "that was fine, let's try
it again"? Is this statement valid? Explain
12. What things should the director listen for when the choir sings?
CHAPTER 10 -
1. List 8 personal qualifications of a church musician.
2. What should the relationship be between the conductor and accompanist?
3. How often should the conductor and accompanist practice together?
CHAPTER 11 -
1. What duties of the conductor and accompanist may overlap?
2. The duties of the singers are

CHAPTER 12 -
1. A written note on the staff tells us three things. They are
2. The difference between noise and music is a matter of vibration. Which
vibrations are necessary for music?
3. What is a tetrachord?
4. How many tetrachords make up the scale?
5. When did the scale come into use?
6. Name the steps and half steps in the C major scale.
7. Indicate whether the following scale tones are active or passive in the C
major (or any major) scale: 1 , 2 , 5 , 4 , 3 , 7 , 6 , 8
19
CHAPTER 13 -
1. Important details one should consider in the selection of appropriate church
music for the sacrament services are
2. A musical dud may be avoided by
3. Five different plans that might be used in selecting music for a choir program
are -
CHAPTER 14 -
1. Harmony may be defined as
2. Draw a major, minor, augmented and diminished chord in any key.
3. Draw a dominant 7th chord in any key
4. Define the term triad.
CHAPTER 15 -
1. Briefly describe the proper way to breathe.
2. How can good tone quality be obtained in a choir?
3. What are the functions of the vowels and consonants in singing?
4. How many vowels are there in the English language?
5. How may the director help the choir to blend?
6. The various classifications of voices are
7. Three essential ingredients of good diction are
8. Three causes of sharping and flatting are
CHAPTER 16 -
1. The general character of performar.ee of the organist and chorister should be
20
2. Of the 53 topical subjects in the Hymn texts, 10 topics are
3. Ten specific opening hymns are
4. Ten specific closing hymns are
5. Ten specific sacramental hymns are
6. Which are the most important in the hymns, the words or music?
7. The functions of the organ prelude and postlude are
8. Categories of music to avoid in the Sacrament services are
9. Are missionary farewells held on Sundays exempt from Church policies and
procedures? Explain
10. Factors controlling the proper atmosphere in sacrament meeting are
11. Prime requisites for the enjoyment of music are
12. The conductor could understand the composers intention by
CHAPTER 17 -
1. How does one measure musical ability?
2. The five different divisions found in Dr. Seashore's tests of musicality are
CHAPTER 18 -
1. The prime requisite for true music appreciation is
2. Different ways people react to music are
21
CHAPTER 19 -
1. "Soul" in musical performance may be defined as
2. How may "soul" be obtained in musical performance?
3. Some possible solutions for the "Points to Ponder" are
CHAPTER 20 -
1. What factors could make orchestral conductors dictators?
2. List three conductors mentioned in the text and tell what you know about
each
-22-
SUMMARY OF CHAPTER 2
A. MUSIC BEGINNING WITH DOWNBEAT B. MUSIC BEGINNING WITH UPBEAT

1. a. All counts in first nneasure 1. a. One count in first measure
b. Organist plays at "X" b. For music using 3, 4, or 6 beat
c. Examples from Hymnbook:
pattern
13, 27, 147, 212, etc.
b. For music using 3, 4, or 6 beat
pattern
Play at "X"
K cue
c.
d. Examples: 195, 196, 206, 209, etc.
sing
sing
cue
a. One count in first measure

b. For music using 2 beat pattern only
c. Play at "X"
d. Examples: 17, 120, etc.
C. MUSIC BEGINNING WITH DIVIDED MUSIC BEGINNING ON 3rd BEAT OF

BEAT 4/4 MEASURE
1. a. Fewer than one count in first a. Two counts in first measure

measure b. Play at "X"
b. Play at "X" c. Examples: Rec. Songs 142, etc.
c. Examples 62, 73, etc. Hymnbook 235
More than one count, fewer than

two in the first measure
Play at "X"
Examples: 76, 112, 204, etc.
CUE BEAT INDICATES:

A. Tempo B. Character of Selection C. Prompts Singers and Organist
23
CHAPTER 3
SOME GENERAL SUGGESTIONS CONCERNING HOLDS

It is important to know where
the hold is located in the musical framework (i.e. is the
hold at the end of
musical phrase, or is it during a musical phrase).
a Please note
that the term "musical phrase" is used. There are both musical phrases and word
phrases. In the hymns the word phrases are the most important, and the music
should be made to fit the words if the two should not agree in their phrasing. The
message of the hymn would determine how the following suggestions would be
applied:
a. When a hold occurs at the end of a phrase, a cut-off is usually employed (Ex-
ample: Hymnal p. 13).
1. If, for purposes of continuity of thought, it is better to keep the music and
words going the hold may be absorbed (Example Hymnal p. 68).
b. When a hold occurs during a phrase, it may be absorbed into the beat pattern
by slowing down the beat or beats the hold is over, keeping the beat pattern
intact (Example: Hymnal p. 26).
1. If it is advisable to emphasize a word or chord, the hold may be cut (Exam-
ple: Hymnal p. 47). 1
Note:
When the cut-off movement is made during a composition, but not at the end,
serves two functions; one is the cut-off, the other the cue-beat.
it It is most
important to keep the line of direction of the beat pattern clearly in mind when
making the cut-off movement.
a. If the next beat or partial beat following the hold is up, the cut-off move-
ment would be to the right in the form of a "C". This same cut-off motion
is employed at the end of each verse (Example: Hymnal p. 13).
b. If the next beat following a hold is down, the cut-off movement would be
in and up (L) (Example: Hymnal: p. 1 A).
Some suggestions follow from the Hymn Book (H.B.), Recreational Songs (Rec. S.), and
Children Sing (C.S.). The hymns with holds at the end would be cut, these are not
listed:
ABBREVIATIONS: abs - absorb bot — bottom div — divide pat — pattern
24
CHAPTER 4 - ILLUSTRATION OF DIVIDED BEAT HYMN BOOK P. 112
Each pattern represents a measure, each division within the pattern, a note.
CHAPTER 5 - FACTORS AFFECTING TEMPO

1. Occasion 8. Ages of singers
2. Character of selection 9. Ability of organist
3. Metronomic markings *see below 10. Ability of chorister
4. Latin, Italian, and English terms 11. Ability of singers
5. Size of hall 12. Atmospheric conditions
6. Size of congregation 13. Time signature
7. Size of singing group
*For instructions on how to make your own Metronome, see Worship in Song, Clair
Johnson, Deseret Book Co., p. 38
CHAPTER 6 - DYNAMICS
Concerning use of left hand
for dynamics, it should not:
a. Duplicate pattern right hand is using.
b. Bobble up and down while the right hand is directing.
c. Be used constantly for dynamics —
too many are in poor taste.
CHAPTER 7 - PHRASING (Examples of definitions)

1. A phrase as a subdivision of a Musical Form.
A symphony is a musical form. is divided It into:
A. Movements, movements are divided into
B. Sections, sections into
C. Parts, parts into
D. Periods, periods into
E. Phrases, phrases into
F. Measures, measures into
G. Motives, motives into
H. Beats or notes
2. A phrase as a subdivision of musical form classified under interpretation for

artistic effect.This relates to chapter 6 — Dynamics.
UJî^rrirrfJijjj
p- f .
p
PHRASING is useful because it:
1. Gives words meaning — also music

2. Allows singers and organ to breathe
3. May be basis of interpretation
TO PHRASE WITH BATON
a. For breath— Stop short of full beat to be phrased, don't break rhythm.
b. To bridge one phrase to another — Carry the beat through end of
phrase and into new phrase by exaggerating beat.
TO PHRASE AT ORGAN,
have organist lift hands and feet momentarily for a musical breath!
-26
FIRST CONDUCTING QUIZ #
AND INSTRUCTIONS
(Course I Conducting answer questions 1-54; 82-84)
(Course II Conducting answer all questions)
The intent of this inquiry is to discover as much as possible about each
student's musical background. This will enable the teacher to be more effec-
tive in planning the content and method used for you in this course.
Try to answer each question as you proceed, but if you are not sure of the
answer, proceed immediately to the next question until you have completed
the entire set of questions. If time will permit you may then return to the
questions of which you were not sure. It is possible that some students may
not be able to answer all the questions at this time.
There are true-false, multiple choice and completion types of questions. There
may be more than one correct answer in the multiple choice questions. Be
sure to weigh each choice carefully and check the squares that apply. Good
luck and thank you.
-27
FIRST CONDUCTING QUIZ
1. The proper direction in executing the movements for the four pattern are:
a D Down, left, right, up c Down, left, right, up
bQ Down, right, left, right dQ Down, right, left, up
2. If the 6 pattern is indicated on the music, and the tempo is fast, it is possible
to change the pattern to:
aQ 3 pattern once per measure CQ 3 pattern twice per measure
bD 2 pattern three times per measure d 2 pattern once per measure
3. The three pattern may be changed to the one pattern if the tempo is fast.
True n False
4. Each verse of a hymn or song should have a cut-off and a cue beat.
True n False
5. There are how many general types of song beginnings?

an 3 bD 4 cD 5 dD 8
6. When song or hymn starts on the down-beat, the singers should begin:
a
a D
At the top of the down-beat c D At the bottom of the down-beat
bn In the middle of the down-beat dQ Anywhere along the down-beat
7. The amount of counts in the 1st measure determines the type of cue-beat used.
True False
8. Main beat pattern movements are:

aO Larger than secondary beat movements
bD Smaller than secondary beat movements
cQ The same size as secondary beat movements
9. A hold may be cut in any direction, the important thing is that it is cut.
n True n False
10. The style of the cue-beat is always identical with the regular beat pattern.
True False
11 Important items that must be considered in the selection of appropriate music

for the sacrament services are:
an The occasion and performer c O The instrument to be used
bQ The speaker d D The musical taste of the bishop
12. An accidental:
a n Lowers note V2 step cD Raises note 1 full step
bD Raises note V2 step dD Lowers note 1 full step
13. De Capo means:

aD From the repeat sign cD From the double bar
bD From the beginning dD From the middle to the end
14. An interlude is:
aD Music played at the beginning of a hymn or song

bD Music played at the end of a meeting
cD Music played between the verses of a hymn or song
dD Music played berore the meeting
28-
The names of the lines and spaces of the piano staff are:
a. Treble clef lines f-a-c-e, spaces e-g-b-d-f •
b. Treble clef lines e-g-b-d-f, spaces f-a-e-c-g
c. Treble clef lines e-g-b-d-f, spaces f-a-c-e
d. Bass clef lines f-a-c-e-g, spaces g-b-f-d-a
e. Bass clef lines g-b-d-f-a, spaces a-c-e-g
f. Bass clef lines g-b-f-a-d, spaces g-a-c-e-b
The correct combinations are: na&f, nc&e, nd&b, Qb&e

The left hand may always be used to duplicate the beat pattern.
D True False
The cut-off movement made during a song or hymn serves both as cut-off
and a cue-beat.
True False
If in doubt as to how long to hold a fermata, hold it as long as you like.

True False
When a hold is located at the end of a musical phrase it is usually cut.

n True n False
When a hold occurs during a phrase, it is usually cut.

n True False
The difference between a quarter note and a half note is:
a n Half-note is white without stem, quarter note is black with stem

bD Half-note is white with stem, quarter-note is black with stem and flag
c n Half-note is white with stem, quarter-note is black with stem
d D None of these
A dot at the side of a note increases its value by:

aD V4 of value cD % of value
bD V2 of value d D 1 count
Two dots at the side of a note increases the value of a note by:
aD Â of value cQ % of value
bD V2 of value dD 1 count
A quarter-note equals how many counts in 2/4 time?

an 2 counts cD V2 of a count
bD 1 count dD Â of a count
A quarter-note equals how many counts in 4/2 time?

aD 1 count en V2 of a count
bD 2 counts dD 'A of a count
The proper order from slow to fast is:

a Adagio, moderato, allegretto, presto, andante, allegro
bD AAoderato, adagio, allegretto, presto, andante, allegro
c n Adagio, andante, moderato, allegretto, allegro, presto
d G Adagio, andante, moderato, allegretto, presto, allegro
Tenuto means:
an Sustained cD Tenderly
bD Cheerfully dD None of these
-29-
28. Tempo giusto means:
a n At pleasure c n 'n exact tempo
b n Rubato d D None of these
29. Rhythm is felt, not thought.

D True n False
30. To determine the name of a sharp key from the key signature:
an Use next to last sharp
bQ Move down V2 step from last sharp
cQ Move up V2 step from last sharp
dD
Move up step from last sharp 1
31. The tempo is fixed or indicated by the organist.

n True G False
32. If the chorister desires to change the volume of a hymn or song he may:
aD Use larger beat pattern
a and raise left hand with palm up to
indicate more volume
bD Use a smaller beat pattern and lower left hand with palm down to
indicate less volume
c Use a larger beat pattern and lower left hand
d n Use a smaller beat pattern and' raise left hand
33. If in doubt as to how many dynamics to use, it is best to have:

an Too many bD Too few
34. If the chorister wishes the congregation to take a breath, he may indicate
it with the baton by:
aQ Exaggerating the beat pattern between phrases
bD Slowing up the beat pattern
cO Stopping momentarily in the pattern
d n None of these
35. The presence of a comma is always a valid reason for a breath.
n True D False
36. What is the correct order of the following terms in building a musical form?
a D Beat, phrase, measure, period, section, movement
bD Measure, beat, period, phrase, movement, section
cD Beat, measure, phrase, period, section, movement
dD Measure, period, beat, section, movement, phrase
37. The phrase is a useful aid in interpretation.
n True n False
38. A phrase may be defined as:
aC A subdivision of musical form

bD A division of musical line classified under interpretation for artis-
tic effect
cD A group of notes of any length
dD The smallest musical structure that has some notion of completeness
-30-
Tension and weight, length, velocity and articulation are the nannes of Sonne
properties of beats. They are important because they help to determine the
effectiveness of the song v^hen properly used in the beat pattern.
True D False n
Who would be responsible for the approval of musical numbers in the
sacrament meeting?
aD Bishop bD Chorister cQ Organist d D Ward music committee
Which of the following categories of music should not be performed in the

sacrament services:
a Love songs
bD Popular ballads
cD Western ballads
d D
fôlk songs
e G Modern music
f Songs with words contrary to our belief
gn
Songs reflecting faith and courage
hD Songs pertaining to the gospel
n Revival-like songs
i
Sacred popular numbers

j
The chorister and organist should practice ahead of time to be sure of

aD The tempo for each hymn or song
bD The proper phrasing for each verse
cQ The length of the introductions
dD The length of the interlude if one is to be used
eD Setting the right mood
f Practicing the beat patterns
g Practicing the notes

hD Learning the correct rhythms
i
Figuring out how the audience will respond
j
Memorizing the words and music
kD Getting better acquainted musically
I Agreeing on the size of the beat patterns
The cue-beat indicates:

ad the tempo cD prompts the singers and organist
bn tells the character of the selection
Two conducting gestures should be apparent in every measure regardless of the

beat pattern.
D True D False
The principal accent of a measure occurs on the up-beat.

D True n False
To indicate with the baton a bridge from one phrase to another, stop momen-
tarily in the beat pattern.
True False
To hold the baton properly the bottom of the baton should be in the palm of
the hand.
n True False
-31 -
48. The meter signatures for C , and ^ are:
a. 3/2 b. 2/2
c. 4/2 d. 4/4
49. The figure 8^^ above or below a note indicates that it is played an octave
higher or lower than it is written.
D True n False
50. Crescendo and diminuendo are variations of the regular tempo.
D True n False
51. The proper order from soft to loud is: pp, p, mf, mp, f, ff.
True False
52. Key signature and meter signature are the same thing.
D True n False
53. A note is a musical symbol that tells us three things:
a. b. c.
54. Write examples of:

a. Whole note: b. 8th note: c. Whole rest: d. Half rest:
Course II continues —
55. it is considered good conducting technique to allow the left hand to duplicate
the beat pattern all the time.
n True n False
56. To indicate a breath at the end of the phrase the conductor should:
a Exaggerate the beat pattern between phrases
bD Slow up between phrases
cD Stop momentarily in the pattern
d D None of these
57. The direction a hold is cut depends on the direction of the next beat.
n True D False
58. A one-beat note combination in 3/2 time would be:

an Two 8th notes cD A dotted quarter and an 8th
bD A dotted quarter and a 16th None of these dD
59. Two tetrachords make up the scale.
n True D False
60. The following tones may be considered as active in the C major scale.
an 1,4,7 bn2, 3, 6 c D 2, 4, 7 dn2, 4, 6, 7
61. To hum correctly one should:

an Have lips closed, teeth apart cQ Have lips and teeth closed
bD Have lips open, teeth closed dD None of these
62. The consonants that are produced in the throat are:

aD O, t, th bD G, h, k cD Sh, zh, th dD None of these
32-
.
63. The vowels produced with the tongue are:
aD A,u,oo bD O, (ou), oo c D A, a, u, o
64. Mood in music is affected by:

aD Tempo, tone quality cQ Phrasing, intonation
bD Dynamics, balance dD All of these
65. Soul in musical performances is born of a concentrated study of all interpre-

tative elements of the music, coupled with the musical insight of the performer.
n True False
66. When should the conductor correct the rhythmic or intervallic mistakes made
by the choir?
a n At the end of a phrase cQ At the place the mistake occurs
b D At the end of the composition d Q None of the above
67. Factors that should be considered in the selection of appropriate music for
the sacrament services are;
aD The instrument to be used cD The performers ability
bD The occasion dD The musical taste of the bishop
68. Some personal characteristics or mannerisms to be avoided by the chorister are:

a n Actions that draw attention to one's self
b n Failure to be mood of the hymn or song
in proper
c n Improper attitude toward singers and organist
d n Pleasant facial expression
69. Some factors the chorister should anticipate as aids to securing good music
appreciation by the audience are:
a n That the music selected is appropriate to the occasion
b n That the chorister knows musical taste of the audience
c n That the music is well prepared and worthy of performance
d n That everyone knows the music to be presented
70. It is considered good conducting technique to hold a book while directing.

True n False
71 A possible remedy for failure of the choir to blend may be to:
a[J Maintain balance cD Have perfect intonation

bD Have good tone quality dD Direct with precise pattern
72. One way to stop singing a tone is to inhale.
n True D False
73. Check three essential ingredients of good diction:

a n Pronounciation eD Breath Control
bn Articulation fD Dynamics
c n Tone gD Tempo
dD Time hD Enunciation
74. The proper way to breathe is from the chest.

D True D False
-33-
75. Mood in music is a direct product of interpretation.
n True n False
76. Three causes of flatting are:

a D
Flabby muscles f Over-anxiety
b D
Excitement g Laziness
c Poor physical condition h Q Emotionally upset
d n Not enough fresh air i Too much echo
e D Shallow breathing j
Soft singing
77. Four important things a conductor should listen for in his choir are;
a. _. b -
c. d.
78. Circle a, b, c, as BEST describing some personal qualifications of a

church chorister.
a. dependable, loyal, prompt, humble, studious, good story teller
b. dependable, neat, tactful, dignified, good singer
c. courteous, dependable, good pianist, honest, tactful
79. There are many ways to build an evening of choir music to make it enjoy-
able for the congregation. The choir director may use any way he wishes.
n True n False
80. To make the most effective use of a choir rehearsal, the following features
should be carefully planned:
b.
d.
81. Three causes of sharping are:

anExcitement en Poor tone placement
b D Laziness fD Emotionally upset
cD Too much echo gD Not enough fresh air
dD Over-anxiety hD Shallow breathing
Courses I and II answer questions 82-84 —
82. Do you teach music?

D Yes D No
83. Have you had the church music courses before?

n Yes D No
84. Do you play any musical instruments?

n Yes D No
I play -. instruments
-34-
ANSWERS TO CONDUCTING QUIZ #
COURSE I and II (Where 4 choices occur, a & b are on the left, c & d on the right).
1.
... . 5
ANSWERS TO GUIDE QUESTIONS
Chapter 1 Chapter 6
1. See text, pp. 11-12 1 . Yes. The louder one sings, the
2. See text, p. 19 faster they sing; the softer one
3. See text, p. 12 sings; the slower they sing.
4. Yes 2. See text, p. 56
5. See text, pp. 1 4
3-1 3. See text, p. 57
6. See text, pp. 15-16 4. See text, p. 60
5. See text, p. 61
Chapter 2 6. Too few
1. See text, pp. 20-35 7. To play or sing an octave
2. See syllabus, p. 23 higher or lower than printed.
3. See syllabus, p. 23 8. See text, p. 1
4. See text, p. 19 9. See text, p. 5

10. Treble clef lines: E G B D F
Chapter 3
See syllabus, p. 24 Treble clef spaces: FACE
Bass clef lines: G B D F
1
2. See text, pp. 37-40 A

Bass clef spaces: A C E G
3. See syllabus, p. 24
1 1. See text, p. 57
12. See text, p. 59
6. See syllabus, p. 24 Chapter 7
7. The If a hold
results desired. 1. Both, words most important
is emphasizes, if it is
cut, it
2. Singing thoughts
absorbed, it continues the 3. See text, p. 64; syllabus, p. 26
thought. a. stop momentarily, not
8. Generally absorbed breaking rhythm — shorten beat
9. Yes breath is on
10. See syllabus, p. 24 b. exaggerate beat pattern
1 1 . See syllabus, p. 24 to carry singers on
12. See text, p. 36-37 4. See syllabus, p. 5
13. See text, p. 36-37 5. 1/2 step above, last sharp;
14. See text, p. 41-42 next to last flat, 1 flat =F
15. See text, p. 42 6. The mark is essentially the
I 6. After the second verse same, the notes determine
the function.
Chapter 4
7. To raise or lower the note
1See text, p. 44
V2 step
2. Keeping the singers together
8. NO!!!
9. See text, p. 64
10. See text, p. 63; syllabus, p. 26
6. See syllabus, p. 4 Chapter 8
7. See text, pp. 45-46 See text, pp. 65-68
1
8. See syllabus, p. 4 2. See syllabus, p. 5

9. See syllabus, p. 4 3. See syllabus, p. 4
10. a. raises note V2 step 4. 1, 2, 3, 4
b. raises note 1 step 5. See text, pp. 68-69
c. lowers note V2 step 6. See text, pp. 69-70
d. lowers note 1 step 7. See text, pp. 69-71
1 1 . See text, p. 43 8. NO!!!
9. See text, pp. 70-73
Chapter 5
text, p. 50
10. See text, p. 71
1See
11. See text, p. 73
12. See text, pp. 74-75
3. See text, p. 51; syllabus, p. 26
13. See text, pp. 75-76
5. 5, 3, 2, 4, 1
6. See text, p. 51
7. Study text, mood
36-
ANSWERS TO GUIDE QUESTIONS (continued)
Chapte
INSTRUCTIONS FOR TEACHERS OF CONDUCTING COURSES
Course I
The important chapters of the Fundamentals of Conducting, by J. Spencer

Cornwall to be studied in the first course are chapters one through eight. Although
other chapters are referred to in the assignments, the principal emphasis will be
on these eight. Avoid teaching faster than the students can learn. Allow time for
them to absorb the information given in the quiz. The assignments should be
followed fully, adapting the pace to the ability of those participating.
If both conducting and organ classes are given, the assignments will corre-
late for a jointworkshop meeting, and will be arranged for the tenth and twelfth
meetings. These work sessions are valuable to both groups, and should be con-
ducted so that specific skills learned will be used. Participants in both courses
will meet conjointly in the first, second, tenth and twelfth meetings.
It is suggested that every lesson begin with a brief review of all the preceed-
ing ones. Visual aids are helpful in this review, as well as the synopsis of the
chapters found in the Syllabus.
Principal points to cover in the course:
Chapters 1, 2 Song beginnings and endings; beat patterns.

Chapter 3 Holds (See chart in Syllabus, pp. 24, 25.)
Chapter 4 Divided beats (Present as a conducting problem Lead Kindly Light,
No. 112, in the Hymn book; Syllabus, p. 26.)
Chapter 5 Tempo (Bring metronome. Have student begin hymn at his own
speed; compare with metronome tempo).
Chapter 6 Dynamics (Use of left hand, but not to duplicate beat pattern.)
Chapter 7 Phrasing (Good examples to use for baton technique are hymns
50 and 122. Have students lead first as a group, then individually.)
Chapter 8 Emphasis is placed on the different styles of songs and hymns.
Course II
Because this is outlined principally for choir leaders, the information con-
tained in the first eight chapters should be understood by the students before
they enroll in this course. Chapters nine to twenty are self-explanatory. The guide
questions should be followed to make sure that each technique is understood and
used after it has been presented.
The anthems assigned in this course should be prepared and directed by
each student with emphasis on the following problems:
1. Methods of presentation to choir
2. Phrasing 5. Cueing and releasing of parts with the left hand
3. Tempo 6. Diction and related problems
4. Dynamics 7. Breath control
Certificates are awarded from the General Music Committee only when classes
are taught by their field representatives. Please keep standards; see p. 1.
NOTE: The final quiz should be made out by the instructor covering the ap-
propriate chapters. The questions should be patterned after the first
quiz, but of the essay or completion type rather than multiple choice
type. The quiz should be given at the Eleventh Meeting, 10th Assign-
ment and reviewed with ths students at the Twelfth Meeting, 11th
Assignment. If only the conducting class is taught, enlist the aid of
one or more organists for the workshop sessions. For discussion of
Church Music Policy see Syllabus, p. v. Beginning and advanced classes
should meet separately. 20 or more students should have 2 hours
per class.
-38-
BIBLIOGRAPHY FOR CHORAL CONDUCTORS
1. by J. M. Nielsen and Kenly Whitelock. Salt

Alberti, Solon. Vocalises. Ed.
Lake City: The Kema
225 Browning Ave.
Co.,
2. Bowen & Mook. Song & Speech for Classes in Voice. Boston: Ginn & Co.,
1952.
3. Brodintz, Friedrich. Keep Your Voice Healthy. New York: Harper & Bros.,
1953.
4. Clippinger. The Clippinger Class Method of Voice Culture. Bryn Mawr, Pa.:
Ditson Co., 1953.
5. Clippinger. Systematic Voice Training. Chicago: Gamble Hinged Music Co.,
1937.
6. Coward, Henry. Choral Technique and Interpretation. New York H. W.
Gray Co., Inc., 1956.
Davies, Walford & Grace, Harvey. Music and Worship. 3rd Ed. New York:
H. W. Gray Co., Inc., 1948.
Finn, William J. The Art of the Choral Conductor. Evanston, 111.: Summy-
Birchard Pub. Co., 1960.
Green, Elizabeth A. H. The Modern Conductor. Enplewood Cliffs, N. J.:
Prentice-Hall, Inc., 1961.
Hoggard, Lara. Improving Music Reading in the Choral Performance. Fred
Waring Office, 1697 Broadway, N. Y. 19, N. Y. 1947.
11. Howerton, George. Technique and Style iv Choral Singing. Boston: Carl
Fischer, 1957.
12. Kellogg, Irvin. Why Breathe? New York: G. Schirmer, Inc., 1939.
13. Kinley, Ethel. Fundamentals for Singers. Toronto: Clarke, Irwin Co., Ltd.,
1953.
Krone, Max T. The Chorus and Its Conductor. Chicago: Niel A. Kjos Music
Co., 1947.
Longe, Teodosia. Fundamentals of Singing and Speaking. New York: Vanni
Publishers, 1943.
Maybee, Harper C. Tuning-up Exercises. Bryn Mawr, Pa.: Ditson Co.,
1930.
17. Marshall, Madeline. The Singer's Manual of English Diction. New York:
G. Schirmer, 1953.
18. Myer, Edmund J. The Vocal Instructor. Bryn Mawr, Pa.: Presser Co., 1918.
19. McKenzie, Duncan. Training the Boy's Changing Voice. New Brunswick,
N. J.: Rutgers University Press, 1956.
NicoU, Irene & Dennis, C. M. Simplified Vocal Training. New York: Carl
Fischer Inc., 1940.
Smallman, John & Wilcox, E. H. The Art of A Cappella Singing. Philadel-
phia: Ditson & Co., 1933.
Staton, J. Frederic. Sweet Singing in the Choir. Toronto: Clarke, Irwin &
Co., Ltd., 1951. Reprinted.
Sunderman, L. F. Some Techniques for Choral Success. New York: Belwin
Inc., 1952.
24. Tkach, Peter. Vocal Technique. Chicago: Niel A. Kjos Music Co., 1948.
25 Tkach, Peter. Vocal Artistry. Chicago: Niel A. Kjos Music Co., 1950.
26. Waring, Fred. Tone Syllabus. Delaware Water Gap, Pa.: Shawnee Press,
1951.
27. Wilson, H. R. & Lyall, J. L. Building a Church Choir. Minneapohs: Hall
McCleary Co., 1957.
28. Van Bodegraven, Paul & Wilson, H. R. The School Music Conductor. Min-
neapolis: Hall McCreary Co., 1942.
29. Vennard, William. Singing, the Mechanism and Technic. Ann Arbor, Mich.:
Edwards Bros., Inc., 1950.
-39-
NOTES —
— 40 —
Section III
a rciun
'9
-42
A DOZEN AND ONE POINTERS ON HOW TO PRACTICE
1. Practice slowly and carefully - NOTE PERFECT!
2. Count aloud, keeping pulsation steady. Know how long to hold each note.
3. Read notes written above or below the staff, don't guess.
4. Use proper fingering and pedaling each time you practice.

5. Isolate tricky areas and make an exercise out of them.
6. Phrase properly in each voice part.
7. Study the music away from the keyboard as suggested in the text.
8. For best coordination practice hands and feet separately, then together. Don't
leave any notes out.
9. If the music has trills, turns, etc., practice the notes without them until the
rhythm is established, then put them in.
10. Teach yourself to read ahead a chord or two, or even a measure. If you do
this,the next chord can never take you by surprise.
11. If you memorize, do it in phrases, a measure at a time.
12. When the musical line is repeated, use the same fingering and pedaling, for
each repetition, (example. Hymn No. 105).
13. PLEASE, DON'T CHEW GUM WHILE PRACTICING OR PLAYING IN CHURCH!
CORRECT PRACTICE MAKES PERFECT !
ORGANISTS PRACTICE RECORD
WK
. .
HINTS ON PLAYING THE PEDALS
1 See the pedals mentally - DON'T LOOK!

2. Use plenty of energy for a good attack.
3. Keep knees comfortably together, ankles inclined inward/ relaxed.
4. ALWAYS play the pedals with shoes ON.
5. Sit well forward, balance from the h ps.
6. Keep toes pointed toward highest note and lowest note in a running passage.
7. To discover which foot to begin the music with, look ahead to the notes that
follow. Alternate feet when possible.
8. There is NO division on the pedalboard where one foot stops and the other
begins.
9. As a general rule, avoid putting heels on black notes.
10. Generally no pedals are needed when octave passages and thirds occur. Ex-
amples: Hymn No. 206 (octave run on first line), No. 125 (pickup note and first
measure). No. 212 (meas. 17-20).
11. When it is necessary to substitute the feet on the same note, a mark will be
placed above and below the note. An arrow along the side indicates the direc-
tion of change. (Text p. 43). Examples: Hymn No. 13 (meas. 13, last note-
right toe played first and then changed to left toe ^ J- )• Hymn No. 93 (2nd
meas. left toe played first and then changed to right, t! /\

)•
12. Be sure to play the pedals the same moment the hands are played.
13. Use both feet, play notes where written.
HINTS ON PHRASING
1. Find the end of each MLISICAL phrase. All four parts lift up at this point. The
marking is: ^
2. Within each musical phrase, mark each voice part separately.
A. Repeated tones have a small dash between them ( / ).
B. Tones not repeated are played smoothly to:
1 end of the phrase.
2. to the next repeated tone.
The mark looks like a slur ( ).
Example: Hymn No. 230. (Inverted "V's" are pedal marks.)

See text pp. 8-10; page 32, item 6.
Hymn No. 230 1st Phrase
44
—
PRELUDE POINTERS
FOR BEST RESULTS:

1. Preludes must be carefully selected. The question is not how little time
will it take to prepare it, but how worthy is it to be heard? The music
must be of good quality, reverent in character and have an interesting
melody.
2. After the prelude is carefully selected, the music should be well prepared
and played in the proper mood. To portray the proper mood requires care-
ful study of the music and a well chosen registration. Plan for the climax,
use expression pedal sparingly carefully. —
3. it is recommended that for the sacrament meeting no preludes be found in
the following categories:
a. love songs
b. popular ballads
c. western ballads
d. songs with words contrary to our belief
e. music with modern dance rhythyms
NOTE: suggested that music written especially for the organ be used
It is
for prelude music. Voc al music should be used sparingly.
4. Time all prelude music. Know exactly how long each piece takes to play.
Find one or two places to repeat in case more time is needed. One
place should be a short repeat, the other longer.
5. Select at least two stop combinations for each prelude. If a repeat is

necessary the new combinations will maintain interest. Change stops only
at the end of a phrase, during a rest or between tones. NEVER CHANGE
STOPS WHILE HOLDING A CHORD!
6. SUGGESTED PRELUDE BOOKS:
Organ:
Asper, Frank W. — Devotional Organ Music — Carl Fischer
Asper, Frank W. — The Organ in Church — Carl Fischer
Carl, Wm. C — Ecclesiastae Organum — John Church
Cundick, Robert M. —
A First Album for Church Organists
Carl Fischer (1967)
Cundick, Robert M. —
Notes of Praise —
Carl Fischer
—
Darley, Roy M. 4 Favorite Mormon Hymns The Sacred
Music Press, Dayton, Ohio
Jackson, — 93 Short Pieces for the Organ — G. Schirmer
Keeler, J. J. and Blackham, E. D. —
Basic Organ Repertoire Vol. 1
(Vol. II in preparation) Wakefield Music Co., Prove, Utah
Landon, — Organ Melodies — T. Presser
Nevin, E. — Church Music for the Smallest Organ — J. Fischer
Peeters, Flor —
Little Organ Book —
McLaughlin and Reilly Co.
Schreiner, Alex. - Organ Voluntaries, Vol. I and II — J. Fischer
Schreiner, Alex. — Twenty-Five pieces for Small Organs — J. Fischer
Wolford, Darwin — Nine Psalms for Organ J. Fischer—
Piano:
Perry — Chapel Musings — Presser
Dreisbach — Church and Chapel Voluntaries — Schirmer
Shelley — Melodies for Church and Home — Schirmer
Randolph — Sabbath Day Music for the Piano — O. Ditson
Randolph — Themes for the Sabbath Day — Schirmer
7. For solos, duets, trios or quartets using organ, piano, chorus and/or
instruments during the service:
Robertson, Leroy J. —
Hymns from the Crossroads— C. Fischer
-45 -
COURSE I ORGAN ASSIGNMENT SHEET
COURSES MEETWG MORE THAN COURSES MEETING TWICE COURSES MEETING ONCE
TWICE PER WEEK PER WEEK PER WEEK
FIRST MEETING
Organizational meeting for the distribution of materials, explanation of courses, completion

or organ inquiry, and collection of fees. Assignment #1, which is to be prepared for the
second meeting, will be explained.
—
Review Quiz Study Syllabus 1-6; 43-115
Cannon: 1-17; 20-23; 32 —
Nevin 1; 2; 19
Check 2nd assignment for questions
THIRD MEETING, 2ND ASSIGNMENT
FOR DISCUSSION: Study Cannon,

COURSE I ORGAN ASSIGNMENT SHEET (continued)
COURSES MEETING MORE THAN

COURSE I ORGAN ASSIGNMENT SHEET (continued)
COURSES MEETING MORE THAN COURSES MEETING TWICE COURSES MEETING ONCE
NINTH MEETING, 8TH ASSIGNMENT
FOR DISCUSSION:
COURSE II ORGAN ASSIGNMENT SHEET
FIRST MEETING
Organizational meeting for the distribution of materials, explanation of courses, completion

of Organ Inquiry, and collection of fees.
Study Cannon: 1-17; 20-23; 32.Nevin: 1; 2; 19

Review Quiz — Study Syllabus 1-6; 43- 115— Check 2nd assignment for questions
THIRD MEETING, 2ND ASSIGNMENT
STUDY: Cannon, Syllabus p. 52

SIXTH MEETING, 5TH ASSIGNMENT
STUDY: Answer questions 16-30

TENTH MEETING, 9TH ASSIGNMENT
Discussion of Church Music Policy

(All classes combined)
Workshop with Choristers
ELEVENTH MEETING, 10TH ASSIGNMENT
Play: Organ preludes with modulation between them

Nevin: 41:99; 42:100 or Solo tenor p. 8 LDS Hymnal
Review of Course Material
LDS Hymnal 253 or 290 or 291
TWELFTH MEETING, 11TH ASSIGNMENT
Review of Questions
Program and Graduation
12TH ASSIGNMENT
Continue to study, practice and improve!
51 -
GUIDE QUESTIONS BASED OM THE
Organist Manual by Tracy Y. Cannon and
First Lessons on the Organ by Nevin
Part One
1. Explain the four general classifications of technics to be mastered.
2. Three suggestions for good practicing fronn the preliminary study section are:
3. Who should have charge of the care of the organ?
4. Five points for the care of the instrument are:
5. What should you when the organ doesn't work properly?
6. If your organ is a Hammond, how often should it be oiled? Who should oil it?
Part Two
1. Three general types of organs are:
2. What type of an organ is in your ward?
3. What is an organ stop?
4. Classify the following stops according to their families.
a. Principal 8' e. Melodia 8' i. Vox Humana 8'
b. Aeoline 8' f. Salicional 8' \. Voix Celeste 8'
c. Gedeckt 8' g. Bourdon 16' k. Gamba 8'
d. Clarion 4' h. Piccolo 2' I. Dulciana 8'
5. What do the numbers 16', 8', 4', 2' indicate on an organ stop?
6. Three things the organist should know about each organ stop are:
7. Where may stops be changed while playing?
- 52-
Part Three
1. Legato means:
2. Staccato means:
3. Detached means:
4. A repeated tone is played as half of its value with a in between
5. Voice leading means:
6. Swell is the manual.
7. Great is the manual.
8. How should one sit on the organ bench?
9. Where should one sit on the bench?
10. How does a person balance himself on the bench?
11. How is the organ turned on in your ward?
12. Are pedals played with shoes on or off?
13. As a general rule, should one look at the pedals while playing?
14. Foot substitution is used to avoid:
15. The heel is used in playing the pedals when:
16. The heel should not be used in playing the pedals when:
17. Is there a division on the pedal organ where one foot stops and the other
begins?
18. When, if ever, may pedals be omitted?
19. How is a note 'accented' on the organ?
20. What is the purpose of finger substitution? Thumb glissando?
21. What is the rule for the sustained tone?
22. How is staccato played on the organ?
23. What does the term "registration" mean?
24. In general, piano music is adapted to the organ by:
53
25. Three important items that should be considered in selecting appropriate music
for church services are: , ,
26. The general categories of music that should be avoided in the sacrament serv-
ices are:
27. Explain hov»/ to mark proper phrasing for the hymns.
28. The characteristics of acceptable prelude and postlude music are:
29. The organ manual was written by:
30. What must always be done when a person is through at the organ?
GENERAL INFORMATION QUIZ FOR ORGANISTS
1. Draw 4 one-beat note figures in 4/4 time
2. Draw 2 one-beat note figures in 4/2 time.
3. A dot by a note increases its value:
4. Two dots by a note increases its value:
5. A quarter note equals count(s) in 3/4, count(s) in 4/2, count(s)

in 12/8.
6. A dotted quarter note equals count(s) in 4/2 time, counts in 9/8 time.
7. A dotted 8th note equals count(s) in 2/4 time, counts in 6/8 time.
8. Draw nine different types of musical notes and five different types of rests.
9. Two different types of meter are: ,
10. The principal accent of a measure occurs on the beat.
1 1 . The * 1 2 pattern may be changed to the pattern with 3 counts per beat.
The 9 pattern may be changed to the pattern with 3 counts per beat.
Conductor's
-54-
12. What does an 8va above or below a note indicate?
13. C indicates time, and (^ means time.
14. The names of the lines and spaces of the piano staff are
15. A melody may be defined as:
16. A hymn may be defined as:
1 7. Dynamics are:
18. How is the letter name of a sharp key found?
A flat key?
19. Name the notes in a C major scale and indicate whether they are a step or a
half step apart.
20 What three things does a note on the staff indicate?
21 Where should the chorister be while the organ prelude music is being played?
22. Do sacred words and modern harmony make a piece of music sacred and ac-
ceptable in the sacrament service?
23. Should the organ be available to anyone who wishes to play it?
24. How does the organist prepare himself for the mood of music he performs?
25. "Soul" in musical performance may be defined as:
26. Four general categories of music not suitable for the sacrament service are:
27. May a hymn be used for the organ prelude in Sunday School?
28. Is vocal music acceptable for preludes?
29. How many hymns should be sung by the congregation in any one meeting?
30. Eight personal qualifications for a church musician are-. .
55-
THE ROLE OF THE ORGANIST IN ACCOMPANYING
1. Should the tremolo or vibrato be used while playing for congregational sing-
ing? -.
2. A good congregational stop setting on your organ is:
3. What could the organist do when the audience sings flat? sharp?. ._
4. How may the organist know when the organ is too loud or too soft for the con-
gregation?
5. The chorister's cue-beat is the movement.
6. The three things the cue-beat indicates are:
7. Where does the organist play in the beat pattern when a song begins with:
(a) downbeat (b) upbeat
(c) divided beat (d) 3rd beat of 4/4 measure?
8. How does the organist know which cue-beat the chorister should use?
9. When the conductor makes the cut-off movement, should the organist stop
playing? ____ .
j
10. When there is a hold, the chorister may do one of two things. They are
11. Should each verse of a hymn or song have a cut-off and cue-beat?
12. Who should set the tempo of a hymn?
13. When chorister indicates an interlude, how long should it be?
14. When the chorister's left hand is raised and/or he beats with a larger pattern
with the baton, what should the organist do?
15. How may the chorister indicate a breath in the beat pattern?
16. How may the chorister indicate a bridge from one phrase to another in the
beat pattern?
17. How often should the chorister and organist practice together?
-56-
F
TRANSPOSITION
Transposition is the art of playing (or singing) a musical composition in a key other
than that in which it was originally written. There are different ways of accomplish-
ing this.
1. Write the music out in the new key.
2. Transpose it at sight. If this method is used, one should see the chord as a
unit and not as separate tones. The chord transposed will maintain the same
position in the new key that it held in the original key. Analyze the chord
as to position in the scale, I, iV, V, etc. See examples I and II.
3. Think of the staff in a new place if the interval of transportation is a third
higher or lower. For example, if the music is in the key of F major and the
transposition is to be in A major, think of the first space on the staff as A,
and apply the correct key signature.
transposed No. 14 Come Follow Me

up one step
,1
Example I
^^ f
^
n I
^
J J I J
t
I
^^^^
Exam pie II
^
transposed
fflown one step
f j
T
J J I fe! ^
^ ^^
^
Example I"
11
')''^\K
tWOr
/\ I
solo
i?
F f
Tenor on great (loud)
P
Bass part with feet (soft)
F
Soprano and alto on swell keyboard
,
^^1
I
-^
(soft)
.
-P-
^
^
^ swells -w
^^ ped. ^p
P
- 57-
MODULATION
To effect a convincing modulation the preparation of a cadence and its realization in
the new key is most important. There must be enough reference from the old key to
the new key to make the change clear and unmistakable.
A. In general, three chords are helpful:
1. Subdominant (IV) 4th degree of the scale. (In the key of C major it would be
F. The chord would be f-a-c.
2. Dominant (V) 5th degree of the scale. (In the key of C major it would be G.)
The chord would be g-b-d.
3. Tonic (I) 1st or 8th degree of the scale. (In the key of C major it would be C.)
The chord would be c-e-g.
B. Some common ways of modulating are:
1. Through the dominant-seventh of the new key. See examples IV, VI, VII.
2. Using a tone (or a chord) common to both keys. If a single tone is used, it
could be sustained alone after releasing the other tones of the old key, allow-
ing it to be a pivot note to the new key. After it sounds alone for a mo-
ment, play the new chord and then a cadence. See example V.
To modulate from Hymn #24 to #25 sustain the "C" after the last chord of
#24 is ieieased. Use it as a common-tone, then play the next to the last
chord of #25 observing that key signature. Play the last chord next, or
begin the hymn. To return from #25 to #24, sustain the top "G" of the
final chord of #25. Use it as a common-tone and play the next to the last
chord of #24 observing that key signature. Play the last chord next, or
begin the hymn, which ever sounds best. Be sure to allow enough time
while sustaining the tone to let the old key sound leave the ear.
3. Through secondary dominant chord. This chord is the dominant of any of

a
the chords in the key being used. For example, the VI chord in C major is;
a-c-e, its dominant is e-g#-b. If the chord e-g-b is played it is not difficult to
sharp the 'g', and then add the 7th (if desired) which would be 'd' and then
resolve it to either a-c-e (a minor) or a-c#-e (A major).
C. Each key has 5 keys closely related, they are as follows:
(In the key of C, they would ber)
1. G major (g-b-d dominant of C)
2. G major relative minor (e, III of C major) (e-g-b)
3. F major (f-a-c subdominant of C)

4. F major relative minor (d, II of C major) (d-f-a)
5- C major relative minor (a, VI of C major) (a-c-e)

The relative minor is found 1 '/2 steps below the major key. One could go;
from C major to C minor without difficulty, since only an eP is needed.
The return to the original key should not be complicated, since the procedure follow-
ed to leave the original key can be used to return to it.
- 58-
Example IV Modulation through dominant
^ ^
m
C to F
î t
I FV| I IV Ij V7 I
common
M ^
Modulation using tone
Example V
W ^ g o
^ ^
C toEb
(=^ t
CI Eb V7
Example VI
Tones of C Major Scale

-1
EXAMPLE VII
CIRCLE OF FOURTHS AND FIFTHS
[ 44 gJ) d}
B^ E^ aI^ ot^
f}J c}{ of} aJ}

B gJ{
Bb Eb Abob cbcbU r^flcUUUU^
EXPLANATION OF CIRCLE.
A. Major keys are listed on the outside of the circle in capital letters, the minor
keys are listed on the inside of the circle along with the keys of C and C#=
(seven sharps and seven flats).
B. Listed by the letter names of the sharp or flat keys are the tones that ars'
affected.
C. Note that the keys of G^ and F# involve the same notes but have different
names. The musical term applied to this is "enharmonic."
Any individual note may be referred to in this manner. G^ is the enharmonic
of F#, D# is the enharmonic of E' etc. ,
60-
ORGAN REGISTRATION
THERE ARE TWO GENERAL STOP CLASSIFICATIONS AND FOUR STOP
FAMILIES:
a. Diapason family
1. Flutes or Labials b. Flute family
c. String family
2. Reeds or Linguals d. Reed family
a. Solo reeds (Clarinet, etc.)
b. Ensemble reeds (Trumpet, etc.)
FOR THE INTELLIGENT USE OF STOPS THE ORGANIST MUST KNOW THE
1. Pitch (16, 8, 4, 2-2/3, 2, etc.)
2. Dynamics (Loudness and Softness of tone)
3. Family (Diapason, Flute, String, Reed)
OF EACH INDIVIDUAL SPEAKING STOP ON THE ORGAN. The keyboards of
the organ contrast tone quality and pitch. The great keyboard is the funda-
in
mental one usually having the louder sounding stops. The swell keyboard
may, as the great keyboard, serve for either solo or accompaniment purposes
depending on the volume of the stops used.
SOME STOP NAMES AND CHARACTERISTICS OF EACH FAMILY INCLUDING
MIXTURES, MUTATIONS AND HYBRIDS.
1. DIAPASON FAMILY (Foundation tone of the organ)
a. Some stop names: Principal, Octave, Prestant, Twelfth, Fifteenth.
b. Some characteristics: Diapasons have a church-like sound. The
higher range is bright, the lower range somber. Diapasons are clear
in the upper range, vague in the lower range. They generally blend
well with the other stop families. The Octave 4' adds clearness and
brilliance, the Fifteenth 2' tends to tire the ear if used for too long
a time.
2. FLUTE FAMILY (There are 3 main types and many varieties.)

a. Open Flutes
1. Some stop names: Melodia, Clarabella, Flute Traverso, Orchestral
Flute, Concert Flute, Hohl Flute, Wald Flute.
2. Some characteristics: Open flutes are generally good as solo
stops, but not too satisfactory for ensemble purposes. In gen-
eral, the 4' flutes may be more valuable than the 8' flutes for
ensemble purposes. Open Flute means that the top of the
organ pipe is open.
b. Stopped Flutes
1. Some stop names:
Gedeckt, Tibia Clausa, Bourdon, Quintadena.
2. Some These stops are good for ensemble pur-
characteristics:
poses. Stopped flute means that the organ pipe has a cover
over the top of the pipe.
c. Half-covered Flutes
1. Some stop names: Rohr Flute, Flute d'Amour, Koppel Flute.
2. Some characteristics: These stops are generally soft in quality
and stress the odd number harmonics. These stops are good
for either solo or ensemble purposes.
d. In general, flutes may express a bright mood not involving energy.
They are good for fast passages and rolled-like-chord-passages. A 4'
flute and an string give a silvery quality; a 16' flute and an 8'
8'
string give a somber
quality. For sparkling light passages, an 8' and
4' are good, or an 8' and 2 2/3; 8' and 1'; 4 and 2 2/3 are good
possibilities.
3. STRING FAMILY
a. Some stop names: Salicional, Salicet, Unda Maris, Gamba, Voix
Celeste, Aeoline, Viola.
-61
b. Some characteristics: Strings contrast well, and are good accom-
paniment stops. Depending on the range used, they may be somber
and/or vague. The stops of the string family are more incisive in
tone than the flute family. The strings have their highest harmonic
development in the upper pitches. The Salicional is valuable as an
accompaniment stop, and for combination with the flute family. The
Viola has a rich quality and combines well with the flute family.
The Viola has a more keen sound than the Salicional.
The Celeste stops are good for music requiring a reflective-like
mood. They give a sense of mass and warmth to the tone. The '
Celestes should not be used with loud combinations.
4. REED FAMILY
a. Some stop names: English Horn, Cromorne, Fagotto, Trompette,
Cornopean, Bassett Horn, Clarinet, Trumpet, Oboe, Bombarde, Clarion,
French Horn.
b. Some characteristics: The more powerful reeds are usually assertive,
the softer reeds may be
penetrating, but are quite delightful when
used with a flute. The stops most frequently combined with a Vox
Humana are the Gedeckt, Stopped Diapason, Flauto Traverso or
other 4' flutes, Salicional, Vox Celeste, or Bourdon 16'. The Oboe is
a good solo stop and will combine well with an open or stopped
flute, giving richness and dignity to the tone. The Oboe may also
be used with a string tone. Generally solo reeds (Clarinet, Oboe,
etc.) are omitted from ensemble because they may not blend well
with the other stops. The ensemble reeds (Trumpet, Bombards,
Clarion, etc.) give power and weight to an ensemble, and are also
effective as solo stops. A solo reed tone may be changed with the
use of a 4' Flute or a 2 2/3 Nazard if such an effect is desired. V/hen
a stop of the same pitch is added to a reed it may add weight or
thickness to the tone. If reeds and mixtures are used together, the
result is a fiery sound. When reeds are used for ensemble build-up,
they should be added according to their pitch and volume. The
reeds are fused with the diapasons, flutes and strings through the
employment of mixtures.
CAUTION: The continual use of reeds in ensemble or solo playing
may tire the ear.
5. MIXTURES
a. Some stop names: Kleine Mixture, Fourniture, Mixture II, Mixture III,
Mixture Clarion Mixture, Acuta II.
IV,
b. Some characteristics: Mixtures clarify the tonal ensemble. A mixture
is a combination of foundation and mutation stops and will have 2,3,
(or more) ranks of pipes sounding together. These are generally
found on larger organs, designed individually for each instrument.
As one plays up the scale, the pitches "break-back" (i.e., repeat) to
lower pitches as the scale ascends. This gives clarity and brilliance
to the lower ranges and intensity without shrillness in the upper
ranges. Mixtures are generally used for ensemble purposes, but an
exception is the Cornet which consists of the following pitches sound-
ing together (8', 4', 2 2/3', 2', 1 3/5") and not having any 'break-
back' in the scale.
6. MUTATIONS
a. Some stop names: Nazard, Twelfth, Larigot, Quint, Tierce.
b. Some characteristics: Mutation stops give new tonal colors, intensify
the mood, broaden the tone. They should always be used with an
8' or 4' stop and for the melody or ensemble purposes. Unlike the
mixtures these stops do not 'break-back' in the scale. They empha-
size certain harmonics of the overtone series. Mutations are gen-
-62
—
erally of the Flute or Diapason family. Some stop combinations with

the Nazard, for example, might be: Salicional 8', Nazard 2 2/3'
(This simulates an Oboe); Flute 8", Nazard 2 2/3'; Flute 4', Nazard
2 2/3'.
7. HYBRIDS
a. Some stop names are: Gemshorn, Erzahler, Labial Oboe.
b. Some characteristics: Hybrids are stops which have characteristics
of more than one family. For example, it may be a combination of
String and Flute tone.
D. NON-SPEAKING STOPS:
1. Tremolo. The tremolo serves as a fusing agent. It may be useful for
preludes, but should NEVER be used for congregational singing. Too much
tremolo is offensive, usually the least degree possible is best.
2. Couplers. A tablet (may be black in color) used to couple one keyboard
to another, i.e., swell to great, great to pedal, etc. Within one keyboard
there may be a sub-coupler (16') super-coupler (4') or unison off. The
latter takes the 8' pitch range out of the registration. This enables the
organist to play the higher pitches lower on the keyboard, or the lower
pitches higher.
E. MECHANICAL AIDS:
1. Expression pedal. This is used to change the dynamic level of the com-
bination use. It should be used carefully, not constantly pumped up
in
and down. Either foot may operate it.
2. Crescendo pedal. This pedal is set to the right of the swell or expression
pedal. As it is depressed it gradually puts on sll (or nearly all) the stops
on the organ. This likewise should be used carefully —
even sparingly,
and never pumped up and down.
3. Pistons and toe studs. The pistons are round buttons with numbers on
them. They may be changed at the will of the organist. The procedure
may vary with the different types of organs. The toe studs duplicate the
pistons, but are changed with the feet in place of the fingers. Pistons
are under each keyboard, toe-studs to left of expression pedal. The pistons
allow the organist to make quick stop changes giving him more control
of the organ. (The European organists have an assistant to make the
stop changes.) Some organs have pistons that are preset at the factory,
and no stops move when they are used. The organist should memorize
these. To discover the stops found on each piston, set them one by
one, and depress each stop individually. If a clicking sornd is heard,
that stop is not on that piston. Only the stops that are siient when de-
pressed are set for that piston.
4. Great to pedal reversible. This is a toe stud to the right of the expression
or crescendo pedal. It will transfer the great stops in use to the pedal.
F. POSSIBLE TONAL COMBINATIONS OF THE STOP FAMILIES

1 a. In purity (each individual stop family in the different pitch ranges
16', 8', 4', 2', etc.)
b. One stop family in combination with another family (flute and string,
diapason and reed, etc.)
c. Using contrasting families together (flute melody on great, a string
as accompaniment on swell).
d. Weaving in and out of tonal colors (one section to a piece played
with a string, another section with the flutes, etc.) This will give
contrast and interest, but must be carefully planned for best effect.
2. By adding:
Flute-tone to Diapason-tone 8'
8' Enriches tone
Flute-tone 4' " " more cutting, definite
Flute-tone 16' " " may be gruff
-63-
String-tone 8' may be undesirable
4"
String-tone may be undesirable
Soft reed-tone 8 adds firmness
Loud reed-tone 8 overshadows diapason
Strong string-tone 8 to Flute-tone 8' overshadows flute
Light string-tone 8 adds firmness
Light string-tone 4 brightens tone
Flute-tone 8 to String-tone 8' dulls string tone +volume
Flute-tone 4 more cutting / definite
Flute-tone 16 adds heaviness
Reed-tone 8 may overshadow string
Diapason-tone 8 to Reed-tone 8' broadens tone
Diapason-tone 4 may be undesirable
Flute-tone 8 rounds tone
Flute-tone 4 sharper, definite
Flute-tone 16 adds weight
String-tone 4 intensifies tone
String-tone 8 makes tone piercing
3. Please note that the higher pitches give power and clarity, 16' pitches
used in combination tend to be heavy, vague and thick in quality. Adding
a 4' stop of the same family makes the tone brighter. Super couplers
increases brilliancy and power and when a 4' stop is added to a 4'
(coupler) a 2' tone is produced. This could make the combination harsh
and shrill.
NOTE: Some organs may be unified, which means that the same set of pipes
are used for more than one stop tablet. The stops may be on differ-
ent keyboards, or extended on the same one. If the same note is held
on one keyboard and then played on the other one, no new sound
will be heard if that stop is unified. If the organ is unified there
will not be any couplers.
G. HAMMOND ORGAN SUGGESTIONS

1. PRE-SET KEYS
SWELL
C Cancel
C# Stopped Flute 8'
pp
D Dulciana 8'
D# French Horn
E Salicional
F &
Flutes 8' 4'
F# Oboe Horn 8'
G Swell Diapason
G# Trumpet 8'
A Full Swell (16')
A# Control for harmonic
bar set No. 1.
B Control for harmonic drawbar
cet No. 2.
2. THE HARMONIC DRAWBARS
SELECTED DRAWBAR COMBINATIONS FOR FOUR STOP FAMILIES.
1. Diapasons
5. Avoid:
a. breaking the rhythm when changing stops.
b. making sudden stop changes.
c. changing stops so often the melody is lost.
d. using couplers all through the piece, this limits the variety of tonal
colors.
I. WHEN ACCOMPANYING THE CONGREGATION, CHOIR OR SOLOISTS AT

THE ORGAN:
1. Have feeling of balance between organ and singers, and organ keyboard
and pedals. The ear will do this.
2. If singers go flat, add 4' or 2' stops.
3. If singers go sharp, add more reeds and, or strings.
4. If voices are throaty or fuzzy, use strings and reeds.

5. If voices are hard or penetrating, use flute and diapasons.
6. Avoid use of 16' stops on the manuals, they should be used in the pedals.
7. Avoid use of tremolo or vibrato, and excessive use of the expression pedal.
8. Keep tempo steady, stately and phrase properly.
9. Play the music in the proper style, i.e., vigorous, meditative.
10. For congregational singing both hands are on the same keyboard, (usually
the great, with 8' and 4' stops on, and 16' and 8' stops in the pedal.
J. TO SUMMARIZE — FOR EFFECTIVE REGISTRATION ON ALL ORGANS:
1. There a great variety of tonal colors at the disposal of the organist;
is
the only limitations are the extent of the organists' knowledge of the
stops and his musical taste.
2. To be fully prepared as an organist, one must know the characteristics
of each individual organ stop, its pitch, dynamics and family.
3. One should know which stops will blend well with other stops.
4. Explore the tonal potentials of each keyboard. The swell keyboard may
possess more stops of solo quality than the great.
5. if the stops listed on the music are not found on the organ, or do not
sound well on the organ, attempt to substitute stops of the same family.
If this is not possible, select stops that will bring out the mood of the
music. To do this discover the composers intentions through the terms
and markings suggested on the music; play the music and sense the
mood, plan the registration accordingly, not neglecting the high-point
(climax) of the music.
6. Avoid superimposing stops on the music. A trumpet would not be the
best choice for a lullaby. Use your imagination and the resources of
you- jrgan to bring out the mood. This is especially true when no stop
suggestions are given on the music.
7. Select two stop combinations for every piece, one that will complement
the other, giving contrast and variety. Contrast is a basic principle of
good organ registration. It is vital to contrast the tonal color of the
melody (on one keyboard) and accompaniment (on the other keyboard).
8. Time all prelude music; locate or or two places for repeating if needed.
9. When full organ is desired for ensemble purposes, it is best to omit the
tremolo, vibrato and celestes. These are more effective with lighter com-
binations.
10. Be using as few stops and stop families as possible in any one
practical,
combination. Three stops will give seven different tonal colors.
11. Be open-minded, gracious, and accept suggestions.
K. BIBLIOGRAPHY FOR ORGAN REGISTRATION
1. Pipe Organ
a. Audsley, G. Organ Stops and Their Artistic Registration.
New York: H. W. Gray Co., Inc., 1921.
b. Goode, Jack C. Pipe Organ Registration.
New York: Abingdon Press, 1964.
c. Irwin, Stevens. Dictionary of Pipe Organ Stops.
New York: G. Schirmer, Inc., 1962.
-66-
Electronic Organs
a. Allen —
Registrations and Suggestions For Church Organists — Wm.
——
M. Foxley Summerhays Music Co., Salt Lake City, Utah.
b. Baldwin Registration helps available from dealers
c.
Hammond
— Organ
Conn Registration helps available from dealers
d.
Heaps, Porter. A Church Organist Guide.
Chicago: Hammond Organ Co., 1959.
Irwin, Stevens. Dictionary of Hammond Organ Stops.
3rd ed. rev. New York: G. Schirmer, Inc., 1961.
Grudin, Maurice. The Well Timbered Hammond Organ.
e. Wurlitzer — Registration helps available from dealers
67
..
ANSWERS TO GUIDE QUESTIONS - PART I
See Text, p. 1 -2 4 See text, p. 3; also don't walk on

See Text, p. 3 pedals, keep keys clean.
See text, p. 3 5. Notify Bishopric
6. Once or twice a year by a competen
person.
ANSWERS TO GUIDE QUESTIONS PART II
1 See Text, 4-6

p. 5.
2. Electronic, pipe, none
Tablet controlling ranks of pipes
4. See text, p. 5
ANSWERS TO GUIDE QUESTIONS - PART III
1 See text, p. 7
2. See text, p. 22
3. Separated, non-legato
4. See text, p. 7
5. See text, p 8
6. See text, p. 4
7. See text, p. 4
8. See text, p. 32
9. See text, p. Hammond or other
32 (At
2 octave pedal organ, sit at middle C.
10. See text, p. 32
1 1 Switch (If Hammond, explain)
12. ON!
13. NO!!!
14. Skips
15. No black notes are involved.
.
ANSWERS TO THE ROLE OF THE ORGANIST IN ACCOMPANYING
1. NO! NEVER •
2. (To be given by instructor when organ is visited)
3. Flatting more 4' and/or T
—
Sharping —
more reeds and strings
4. Congregational response - organist should hear self and congregation equally
well.
5. Preparatory
6. Tempo, character, prompts singers and organist
7. See charts on "Cue-beats" below
8. Amount of counts in first measure give clue. See question 7.
9. Yes
10. Slow up or cut off
1 1 Yes ,
.
X
12. Chorister (organist asks how fast to play introduction)

1 3. Last phrase
14. Play louder
15. Stop momentarily
16. Exaggerate beat
17. As often as necessary to do an inspiring performance
A. MUSIC BEGINNING WITH DOWNBEAT B. MUSIC BEGINNING WITH UPBEAT

1. a. All counts in first measure 1. a. One count in first measure
b. Organist plays at "X" b. For music using 3, 4, or 6 beat
c. Examples from Hymn book: pattern
13, 27, 147, 212
c. Play at "X"
d. Examples: 195, 196, 206, 209, etc.
N. cue
2. a. One count in first measure

For music using 2 beat pattern only
C MUSIC BEGINNING WITH DIVIDED b.
BEAT c. Play at "X"

d. Examples: 17, 120, etc.
1. a. Fewer than one count in first
measure.
b. Play at "X"
c. Examples 62, 73
MUSIC BEGINNING ON 3rd BEAT OF

4 MEASURE.
1. a. Two counts ;n first measure
b. Play at "X"
a More than one count, fewer c. Examples: Rec. Songs 142
than two in the first measure, Hymn Book 235
b Play at "X"
c. Examples: 76, 1 12, 204
cue X sing
- 69
70
FIRST ORGAN QUIZ
AND INSTRUCTIONS
(Course I Organ answer questions 1-64; 74-76)
(Course II Organ answer all questions)
The intent of this inquiry is to discover as much as possible about each
student's musical background. This will enable the teacher to be more effec-
tive in planning the content and method used for you in this course.
Try to answer each question as you proceed, but if you are not sure of the
answer, proceed immediately to the next question until you have completed
the entire set of questions. If time will permit you may then return to the
questions of which you were not sure. It is possible that some students may
not be able to answer all the questions at this time.
There are true-false, multiple choice and completion types of questions. There
may be more than one correct answer in the multiple choice questions. Be
sure to weigh each choice carefully and check the squares that apply. Good
luck and thank you.
71 -
.
FIRST ORGAN QUIZ

1 The name of the upper manual on a two-manual organ is called the:
an Great bD Swell cD Choir d Solo
2. The name of the lower manual on a two-manual organ is called the:

an Great bD Swell cD Choir d D Solo
3. When the organ doesn't work properly the organist should:

an Report to the custodian cQ Call the repair man
bD Ignore the problem dD Notify the bishopric
4. Arrange in order of importance for care of organ.

a. Keep keys clean
b. Close cover when not in use
c. Don't let children or unauthorized adults play without supervision
d. Don't walk on the pedals
an bD cD dD
5. In learning to play the organ the areas of technique to be mastered are:
aG Touch, flexibility and registration cQ Proper practice habits
bn Coordination of hands and feet dD Constant use of swell pedal
6. The function of an organ speaking stop is:
a To give variety of tonal color c To stop the organ

b To couple manuals and/or pedal dD All of these
7. Important items the organist should know about the organ stops are:
aQ Pitch,dynamics c[J Number of stops on the organ
bD Quality of tone dQ Shape of pipes
8. A string stop in this list is:
aG Principal 8' cO Gedeckt 8'
bD Aeoline 8' dD Clarion 4'
9. The Flute stop in this list is:
aQ Principal 8' cQ Gamba 8'

bD Gedeckt 8' dD Aeoline 8'
10. A Reed stop in this list is:
aQ Salicional 8' cD Vox Celeste 8'
bD Vox Humana 8' d^ Dulciana 8'
11. A Diapason stop in this list is:
aD Bourdon 16' cO Prestant 4'

bD Piccolo 2' dD Oboe 8'
12. Stops may legitimately be changed:

aD Between tones cQ During a rest
bD End of phrases dD While holding a chord
- 72 -
13. Formally the organist should get on the bench from the side of the audience.
True n False
14. When properly located on the organ bench the organist should be seated at E
above middle C.
True False
15. The organist should maintain bodily balance from the hips.
n True n False
16. It is acceptable for the organist to play in stocking feet.
True False
1 7. The organist should play his heels on the black pedals as well as the white.
True False
18. There is a division on the pedal organ where one foot stops and the
other begins.
True n False
19. The purpose of foot substitution is:
a To avoid skips c D To complicate organ playing

bD To keep pedals legato d All of these
20. When unison voices, consecutive octaves or close thirds occur it is not
necessary to use the pedals.
True n False
21,
22,
Which of these
mr^
examples indicate the best pedal markings?
an
o ^ o
r
A o
ir r
bD
o A
The purposes of finger substitution and thumb glissando are

r ^ cD
to facilitate
smooth playing.
n True False
23. One may 'accent' on the organ by;

a[J Holding the chord slightly longer
bD Releasing the chord quickly
c Playing the 'accent' on the organ like it is done on the piano
d n None of these
24. A 'staccato' is played on the organ the same way it is played on the piano.
D True G False
25. A repeated tone is played as though it is half its value with a rest in between.
D True D False
73
26. Correct voice leading means playing the proper phrasing in:
a Soprano and tenor voices cQ Soprano and bass voices

bD Alto and bass voices d D All voices
27. The rule for playing a sustained (tied) tone is: v^hen a tone occurs in one
voice and is immediately repeated in another voice, the two notes should
be tied.
True n False
28. To aid the congregation in the spirit of worship the organ prelude should be
familiar to all.
n True False
29. To play the proper phrasing (correct voice leading) in the hymns one should
play in a legato style the notes that aren't repeated, and clearly detach
those that are in each voice part.
True n
False
30. Who should be responsible for the approval of special musical numbers
provided in the sacrament meeting?
an The bishop cQ The organist
bD The chorister dD Ward music committee
31. Important items that must be considered in the selection of appropriate music
for the sacrament services are:
an The occasion and performer en The Instrument to be used

bD The speaker dD The musical taste of the bishop
32. Which of the following categories of music should not be performed in the
sacrament services?
a Love songs
bn Popular ballads
cQ Western ballads
d n Folk songs
e D Modern music
f Songs with words contrary to our belief
gn Songs reflecting faith and courage
hD Songs pertaining to the gospel
i Revival-like songs
j
Sacred popular numbers
33. The tremolo or vibrato should be used for congregational singing.

n True n False
34. The organist could help the congregation or choir when they sing flat by
adding more 4' and 2' stops to the registration.
n True False
35. The organist could help the congregation or choir when they sing sharp by
adding more strings and reeds to the registration.
True False
-74-
36. There are how many general types of song beginnings?
37. The cue-beat given by the chorister is different for each type of song
beginning. It should:
aQ Predetermine the tempo and mood
bD Prompt the singers and organist
c D Be given for each verse
dO Be given for the first verse only
38. The organist knov\/s which cue-beat the chorister will use by:
an The time or meter signature
bD The key signature
c D The amount of counts in the first measure
d n None of these
39. The chorister should give a cue-beat and a cut-off for each verse of a hymn
or song.
True n False
40. When the chorister indicates the cut-off the organist should:
an Hold the chord until the organist is ready to release it
bQ Cut-off with the chorister
41. The proper length of an interlude should be:

aO The last two chords c n The last two phrases
bD The last phrase d D None of these
42. If the chorister wishes to bridge one phrase to another and not take a
breath, he may enlarge the size of the beat pattern.
n True n False
43. If the chorister wishes to have a breath at the end of the phrase he may
pause momentarily in the beat pattern, not breaking the basic feeling
of pulsation.
n True n False
44. When a hold occurs in the music, the chorister should either cut it off, or
absorb itinto the beat pattern.
n True n False
45. When the chorister's left hand is raised and/or he uses a larger beat
pattern the organist should:
an Stop cD Play louder

bD Play softer dD Ignore it
46. The tempo of the hymn or song should be set by the:
aD Organist c Congregation -
bD Chorister d D None of these
- 75-
4
58. Tfie meter signature for C (common time) is:
an 3/2 bD 4/2 cD 4/4 dD 6/4
59. The meter signature for <l (cut time) is:
an 3/4 bD 4/4 cD 4/2 dD 2/2
va
60. The figure 8 above or below a note indicates to play either an octave
higher or lower than the printed music.
True False
61. A quarter note has:

a D % of a count in 2/4 cD V2 of a count in 2/4
bD 1 count in 2/4 d D V4 of a count in 2/4

an 1/2 of a count in 4/2 cQ 3A of a count in 4/2
bD V4 of a count in 4/2 dD 1 count in 4/2

an V2 of a count in 6/8 CQ 2 counts in 6/8
bD ^/4of a count in 6/8 dD % of a count in 6/8
64. The Chorister and organist should practice ahead of time to be sure of:
a The tempo for each hymn or song

bG The proper phrasing for each verse
c n The length of the introductions
d n The length of the interlude if one is to be used
e n Setting the right mood
f Practicing the beat patterns
g Practicing the notes
hQ Learning the correct rhythms
i
Figuring out how the audience will respond
j
Memorizing the words and music
kD Getting better acquainted musically
I D Agreeing on the size of the beat patterns
Course II continues —
65. Write modulations, using 4 part harmony, from:
a. cbto Eb b. C to G
» m
66. The method used for the modulation was:
77
67. The conductor's 3 pattern may go to the pattern with 3 counts per beat.
68, A written note on the staff tells three things. They are:
a b c
69. If in doubt as to the amount of dynamics to use in a piece of music, it is better

to have:
D Too many Too few
70. Prelude books that are approved for use in the Church services are:
a. b
c. d.
71. Practical keyboard practice means:

an Preliminary study before going to the keyboard
bD Playing the music through several times
c n Dividing the music into sections for study
d D All of these
72. The term "registration" is synonomous with the term "stop combination'
D True n False
73. In general, piano music may be adapted to the organ by:
Courses I and II answer questions 74-76 —

74. Do you teach music?
n Yes n No
75. Do you play a musical instrument (s)?

D Yes n No
76. Have you had Church music training courses previously?
D Yes D No
If yes, indicate:
What course was taken
When is was given
Who instructed it
-78-
ANSWERS TO ORGAN QUIZ
1.
PRACTICE INSTRUCTIONS
Read material in Cannon The Organist's Manual, and answer the guide ques-
tions in the Syllabus.
Cannon Exercises
Page
7 The numbers under the notes do not mean the fingers; rather the counts
This means that each note gets a total of 5 counts with the
per measure.
two tones down together on the first beat of the measure only. The single
tone sounds for the rest of the measure and is carried one count over into
the next measure.
12:1,2 Practice hands separately, then together. Be SURE to hold the C down
through the entire exercise. It is the first note played and the last let up.
Do not worry about playing the C in the last measure. When the other
tones B and D are released the C will sound as if it had been played again.
13:1,2 To play this exercise, hold hands in a cupping shape to make it easy for
1st and 5th fingers.
14 Finger substitution: play hands separately, then together. The numbers

for the fingers are interpreted as follows: ^'^ indicates that 3 is changed
to 4, and 1 is changed to 2 while the notes are held down.
16 The thumb glissando should be practiced with hands separately, then to-
gether. Read instructions in Cannon, pp. 14-15. The right thumb going
down has the thumbnail over the top ready to play the next note before
the previous note is let up. To insure an overlapping legato, the thumb
holds both notes down at the same time just for a moment. The wrist
plays an active part in the movement of the thumb. Going up, the wrist
is raised and the lower part of the thumb plays the next note first. The
left hand going up has the thumbnail playing the next note first. Going
down the wrist is raised and the lower part of the thumb plays the next
note first.
Ex. 1-4. The thumb tips face and move toward each other as they
go down the scale and away from each other as they return.
Ex. 5. Hands
are played using the same thumb motion as found on
lines 1 and Practice hands separately and then together. When played
2.
together, the hands move in teeter-totter fashion beginning with the right
wrist in an upward position, the left wrist low enough to get the thumbnail
in position over the top of the next note while still playing the first note.
As the next notes are played, going up the scale, the wrists exchange posi-
tions (right down, left up), but return immediately to the original position
to play the next note. This process is the same all the way up. When
coming down, the same procedure is followed, but in reverse order: i.e.,
left wrist up, right wrist down with the right thumbnail over the next note
ready to play it smoothly. It may be advisable to practice right and left
thumbs together going up and down the scale, keeping them legato, and
then add the other notes.
Ex. 6. The same as above, except for the key and more stretching
of the thumbs to keep it legato.
17,18 The rule of the sustained tone should be memorized and applied when-
ever necessary. Please observe ties and fingering.
19-20 Notice and hold all whole notes their proper value.
21 Observe the ties. Pedals need not be used in measures 14 (last count),
15, and 16.
80-
Page
22-23 Play observing staccato and accent marks. Note especially on the top of
p. 23 the staccato notes in the left hand as well as the sustained C# and
D. The right hand also has staccato and legato treatment.
26-27 Read the instructions on registrations and practice them carefully.
33 Balance from the hips; have the bench a comfortable distance from the
manuals. Turn your body as if on a pivot, using your foot as a lever to
help you turn. Push your foot against the inside of the pedal; turn your-
self to the next note, keeping the pedal down until you have turned.
34a Be sure to notice which foot plays the notes.
34b Notice which clef you are reading. These notes are played in 3rds and
are the lowest C and E on the pedal board.
35 Read and follow the instructions above the exercises.
36 Follow instructions. Keep pedals in time.
37 Follow instructions. Notice Exercise i: the feet alternate, starting with
the left toe, until the pedal indications suggest otherwise. Then continue
alternating.
38-41 Follow the instructions given.
42-43 Follow pedal markings and instructions. Exercise 12: The 1st line is
played with the left, 2nd line with right toe. Exercise 13: employs foot
substitution: change feet in the direction of the arrow while holding the
note down.
Nevin
1 Watch fingers and phrases. Hands may be played together an octave apart
if desired.
2 (bottom) Glissando. Thumb should make the notes legato. To do so, play
the new note with the tip of the thumb while the other part of the thumb-
holds the first note down. This is going down. To go up, reverse the pro-
cedure. The tip holds the first note while the other part of the thumb
plays the new note. The more proficient you become, the less disson-
ance there is in the glissando.
3:1-2 Watch rhythm, fingers and phrases. Have a little break at the end of each
phrase. In the breaks will be in the same place for both hands; in
Ex. 1
Ex. 2, some of the breaks will be at the same time in both hands, others
independent of the other hand, following the phrase markings. Notice the
F# in the soprano, 1st measure, 2nd line. This note is often overlooked.
4:3 Watch fingering in first measure. Hold down A in alto, B in soprano in
measure 2 for 3 counts. Piece repeats itself on the top of 2nd page.
Notice the left hand 8th notes; they must go twice as fast as the quarter
notes. In measure 9, A in alto should be held through the whole measure
and 1 count into the next. The B in the soprano in measure 10 should
be held for 3 counts.
5:4 The problem here is the trill on the 2nd line. One method is to trill in 16th
notes starting on the upper neighbor Bb. It would be, then, BbABbA for
the first count, BbABbC for the 2nd count (the BbC are already in the
music). The Bb half note would not be trilled. Watch fingering and
phrasing.
6:5 Watch fingering and phrasing.
measure 1-2: G in alto is held for 2 full measures
3: D in soprano is held 2 counts, C 1 count
4: B in soprano is held 3 counts
5: G 3 counts
in alto held
6: E, F# and G
soprano held 1 count each
in
F# in soprano, 2 counts, E in soprano one count
7:
D in soprano held 3 counts
8:
Circle all half and dotted half notes. Hold their full value. In measures 3
6, and 7 observe the quarter notes and hold their full value.
-81 -
Page
6:6 Watch phrasing, rests, fingering and rhythm. Give half notes and whole
note full number of counts. Note especially measures 1, 2, 13, 14, 15.
Observe rests in measures 9-12.
7:7 There are dotted quarter notes in every measure of the piece. They all
receive 3 counts. Note especially measures 8, for movement of 8th notes,
and 14 and 15 for accidentals.
8:8 Observe fingering and rhythm. Make the skips in measure 5 as gracefully
as possible. Watch all accidentals.
9:910 10:11 Extra material. Follow instructions as in 8:8, for fingering rhythm
and accidentals.
1316 This piece is fullof half notes and dotted half notes which must be held.
Mark them all, as well as the rests. Give every note its full value.
19-27 Pedal studies assigned are for accuracy first and speed later. Do not look
at the pedals after you have located the first note with each foot. Follow
the pedal markings.
28 Notice that the exercises assigned are to be played through once with
the right hand, once with the left, the pedals being used for the bass clef.
29:70 Same instructions as 28. Watch the rhythm throughout carefully, and acci-
dentals in the last measure. Follow pedal instructions carefully.
30 Phrasing and pedals need care. Motice the notes in measure 7, treble clef:
there is a skip between the 1st and 2nd notes.
31 Play pedals, phrasing and rhythm carefully.

32 Both right and left hands may play treble clef as on p. 28. Follow pedal
markings.
36 For the notice that the right hand is on the Swell, left on the Great,
trio,
bottom line on pedals.
Practice left hand and pedal, then right hand and
pedal, then put them together. Observe phrasing, note values, fingering,
and pedal indications.
50 This prelude may be d'vided into sections for practice purposes.
Play slowly at first.
Section — measures
1 measure 8 the E
1-8. In in the alto should be held
down measure. the full
Section 2 — measures 9-16

Section 3 — measures 16-25
Section 4 — measures 25 — end
HYMN PLAYING SUGGESTIONS AND PEDAL EXAMPLES

general, practice only one hymn at a time until it is perfected, then pro-
In
ceed to the next until the three listed are ready to be played in class. For
phrasing, follow the instructions on page 44 of the Syllabus, and page 9 of Can-
non's The Organist's Manual. All phrasing must be rhythmical. In the comments
below, on the separate hymns assigned, where phrases are indicated by numbers
they should be counted from the first complete measure. Consideration here is
given to only the musical phrasing; it is hoped that the chorister will consider the
words in determining a phrasing scheme for each verse. The pedal markings for
the assigned hymns are given below. Only the bass clef is shown; the tenor notes
are included in the examples so that the organist may play the tenor notes with
the left hand and the bass notes with the feet. Copy the pedal markings into your
hymn book. The pedal marks are not placed over every note, but the same foot
would continue until the next pedal mark. All pedal markings refer to the bass
part only. Those markings above the notes refer to the right toe (A) or heel (o);
-82
those markings below the notes to the left toe (A) or heel (o). Read t+ie instruc-
tions on pedaling and phrasing until they are thoroughly understood. The pedal
and phrase indications are given as guides. It is possible to pedal and phrase
many of these hymns in other ways. The hymns here are listed numerically. Play
the pedals where they are written, use both feet.
Hymn No. 3. A Mighty Fortress. Style is vigorous, phrasing clear. All

repeated tones should be clearly separated when they
occur in the same voice part. This hymn is in 2-measure
phrases.
^li ^â
^
y^^
A ^
S3 ^^
r*A
itit
A
lit
A
M
A o
II P=â
iti:
° A o
A-o
A ^.
3e ^m
'~k=!:
1^ ^^
\n-^ n r^ A
r=F
-83
^
Hymn No. 4. AllCreatures of Our God and King. Style is vigorous,

phrasing clear. This hymn is in 2-measure phrases.
^ AA o %
r^H^ 42^
^: ^ 3^^
-^«-»
£: jîfzt
m ^ T=i
A A o -•- -«-- -^-^ -#- o A.
m^ -^-r-f-^:
r-
ii ^ f=^^
P-T-^-B*^
^R^
:£
A
AAoAq/^ a-â A o
A o
^»-r-Pi-i —^— tî^t
* w
r^.-u ^-#
#-•
tut e
Wz -fZ-
A A o A
A A A A
m
o -N 1^
f^. fV-f -K?-
ssi ?=^S=S=«=
EtS: 1^ ^
Hymn No. 7. Behold! A Royal Army. Style and phrasing silimar to

hymns 3 and 4. This hymn is in 4-measure phrases.
iM=i
:2: f=t= m$
o A
mt
^S .u
No Pedal
84-
1
Behold! A Royal Army — (Cont'd)

A
mm ^f 1
^^-
1^
^ 9=^
'9-
r r I
-^
\y
£
'V (^
r
-zt- ?
A
>i^î_4
o A
g
i
^
— —J.
r? i
r^ L
^±=t I
Hymn No. 8. God, Our Father,

Hear Us Pray. Style is meditative,
legato.Observe rests at the end of the phrases; keep the
hymn in time. This hymn is in 4-measure phrases.
J-> 1
Hymn No. 13. Come, Come, Ye Saints. Style is vigorous. The tenor
note most commonly left out is the C as it occurs in the
3rd, 5th, 6th, 8th, 13th, and 16th measures. Play the
C's with the thumb of the right hand. Observe the time
changes. This hymn is in 4-measure phrases.
^t* I
siLi"ji: 4^f3=H
A
a
fefcrac
5 mm- f^s
A
i2^
^M I E
^ J:
fct I i $
^ I' I
^ A
:ti
P=I
86
Hymn No. 14. Come Follow Me. Style is meditative. Observe phras-
ing; play legato. This hymn is in 4measure phrases.
^
-^
e -^
m
Hymn No. 22. Come Unto Jesus. Style is meditative, legato. In the
2nd 3rd measure, the tenor note A may be played
line,
with the right hand. Alto and tenor parts move in the
last two measures. This hymn is in 4-measure phrases.
m^-r: =P:
-<=2- -f=2-
^
h£2- ^^5
:^:
z:K ^
Pd2= ^ ¥'
-(S-
^
4=^
f
tit
f^
Hymn No. 27. Do What Is Right. Style is vigorous. Rhythm is usually

incorrectly played on the 3rd line, 1st measure, and on
the 2nd page, 1st measure. Detach the notes in the
chorus, but don't make them choppy. This hymn is in
4-measure phrases.
PS
^3!
r m feSEp:^
w t3^
^SEE^SE S^?3E
^=^^ :t=l:
-88
— — a
Do What is Right — (Cont'd)
A
I
Si
i I
•-
mr^r-rT^
:^=t
-0
r=f I I
f=^
P-— -m —
Si
1
eI
m "TT
^:^z|±=(n=5:
•-= —• 0-
JJ-N—g-
^^n T 1 ^ ^ ^ l
| ^ I
l
-
is
Hymn No. 62. High On the Mountain Top. Style is vigorous. Observe
rests on 3rd line in the pedal. This hymn is in 4-measure
phrases. Note also the pedaling in Cannon's The Organ-
ist's Manual, page 11.
A A A A-o A A
•- -# -0- -0-
i=2:
A o A J
:^
^trr^ =t^ t =F
is:
-j^ :j
i?:^ -^^ î^
>^V., U
^ tr-6: ^ n -^ — • —
I
A A
-89-
r
Hymn No. 67. How Gentle God's Commands. Style is meditative, legato.
Proper phrasing or voice-leading is the key to playing
this hymn well. For the rule on this, see Cannon, Organ-
ist's Manual, page 17. This hymn is in 3, 3, 4, 3 meas-
ure phrases.
^ f ^
>, ^ A >J-
1
— I
Hymn No. 94. Let Us Oft Speak Kind Words. Style is meditative, but
with movement. Each line has three staffs. Right hand
plays melody on the Great; left hand plays accompani-
ment on the Swell; feet play the third staff. The last
two lines are played with both hands on the Great. Mark
the phrasing on the top line only. This hymn is in 2-
measure phrases.
A
f^rr-^
^
Let Us Oft Speak Kind Words — (Cont'd)
4
S::=zf5
m
X ^ y -f X
m^ h—M--.
V ^ L
1/
K
g I
I
h—tf
I;
^
#- ^.'f:
11=1 r>-g
— V V-
> r M
A N
^— p^^^rm
A
V'
p^
# —
i
it ^ A
-W—ft' 'P P \
»
o A
*
:f=^
v-v-
# ?
^ J
Hymn No. 98. Let Us All Press On. Style is vigorous. Dotted rhythms
need special attention. Pedals should be clear; moving
parts in the last measure need to be distinct; outer voices
^
are sustained. This hymn is in 4-measure phrases.
VTÎ^
-T f •
f\f ^ ^
t'ET r r t' I
^ ^ I
i
A o
m =P=F?
Ar^
^ r- >
91
1^
f
Mt^^:^
r^-#- -Ti >,
^ F <
Let Us All Press On — (Cont'd)
A > A
^ -
-•—f-
—•— ^ ^
:w^=^=r
^ I* k
.^^ -?—
^ j^
N
V
N ^
^ ^
-i-^-i=^
^ ^ >
H=i^
A
^ !
Hymn No. 101. Lord, Accept Our True Devotion. Style is vigorous. Note
the C# 3rd measure, 1st line: don't leave
tenor note in
it out. Second line, C# in the pedal needs special at-
tention. This hymn is in 4-measure phrases.
^ ^
t
w -•-^
^ t-
s-^-J?-
^ -#-
-• # « •--: •-
A
^=F
A o
ît=
-fL ^^
-V—b'—V —
4k.
t^-
-^^
|cit
*^ i^
Ht -^
ES
u
£:£
mwm
A
A^
53^ f^=:fc^ ^^^=n
S?f:
-y— =^=^ ?^
92
Hymn No. 118. Now Let Us Style is vigorous. On the 3rd line,
Rejoice.
4th measure, care to make the pedal changes
take
legato. Watch F# on the 4th line in tenor. This hymn
is in 4-measure phrases.
A^
^
fM=^ >^^ ^ ^ g >
r:
±=i
^ i?=^
f=f =f
A A
A 1 ,
^ r — — ^
Hymn No. 145. O Ye Mountains High. Style is vigorous. Watch the time
change in3rd line, last measure. Tenor notes Eb,D on
4th line, 3rd measure, 3rd count, should be played with
right hand. This hymn is in 4-ineasure phrases.
i#—#-
H'—
f=r^J=^
An
-^
r n
• •
m-
^ rr r b' r
:f=
^J^
m
-(Z.
fciit
^13 i^=t: 4^^
S -f^-
^0
I
^
z^ — fe
1=1^
iT-\r-,—^ • ^
^— -# ^
:t=^
-# ——
^
94
—
Hymn No. 147. Praise to the Man. Style is vigorous. Watch all tenor
notes; play tliose with the right hand which can't be
reached with the left. Pedals are tricky in 1st measure
of the chorus. Hold soprano note A when alto has mov-
ing parts: 4th line, 4th measure, 2nd count. No pedal
is necessary on 2nd page, 1st line, 3rd measure. This
hymn is in 4-measure phrases.
fe
tt i=t=
^ =£^
P=f
£
?=
f~ —P—r* • ^ J5-
-#-^ —•-
m r^-r
1/
^
V-4-^ ^
1/ L/
A A
I
o
:p=5= — t ^
m. ^^ * p
. 3E=f p
-
=^ J V
^ :M«^
ic=t:
^q-r-r^^=f=: ^
^ * '
p 'p
,No Pedal,
a b 1^
-»-= —•-
H 1—
P
95-
Hymn No. 148. Jesus, the Very Thought o1 Thee. Style is meditative,
legato. Hold down D in soprano in 1st line, 3rd measure
for 2 counts while F# is played in the alto; and on the
2nd line,6th measure, hold the C# in the soprano
while E is played in the alto. This hymn is in 4-3-4-.'^-
measure phrases.
Hymn No. 168. Sweet Is the Work. Style is vigorous. Use the rule of
sustained tone explained in (-annon Organist's Manual.
page 17. Watch pedals: foot substitution is required on
1st line, 2nd measure; right toe changes to left toe on
D here and also on 2nd line, 1st measure. Be careful
of tenor notes on entire last line. This hymn is in 4-
measure phrases.
as m
1^^
P^
^ A 6
i £:
-<»-
A
m
96
Hymn No. 169. There Is Beauty All Around. Style is meditative, legato.
Observe rule of sustained tone in Cannon Organist's
Manual, page 17. Left hand need not play bass note if
pedals are used. Watch alto Db notes throughout. This
'SB^
-^^ i
r rr r^ I I
r4 ^^^-^ 1i^tr
A
A
«— •-
0%
m^^ 0~
^
S^ :|==t:
^ 4^ ^-U^ .^
-r-r
1 1
\ r I
<?
•
r^ <^ — I
f» ^
V h2-
T^'
^^=^ t=ie=fc
s> I
i
97
Hymn No. 172. There an Hour of Peace and Rest. Style is meditative,
is
legato. Repeat the repeated notes clearly in all voices, but
do not let it sound choppy. Where practical, play tenor
notes with the right hand. The accent marks on the last
two lines in the bass clef are not pedal indications. This
A
^ M t m t
f^
A lo A ^
^^ lt±L ZIZ
A V
^^ V
ft
I*
V V
• p
It:
V V
^
V V
» If
A
V V V
^
)tfe a=|E=E
f=F^
i^z:
Hymn No. 174. There's Sunshine in My Soul Today. Style is vigorous.

Watch dotted notes. Be sure of timing and pedaling in
last two lines. This hymn is in 2-measure phrases.
A
t^^
*=t
— —
-• •-= •-
4=t:
> %
m
-#-=-
:^±
g^ -y—V- :^—-sz :f=
98-
There's Sunshine in My Soul Today — (Cont'd)
o An N ^
#-: —r— •-- —*
% P-' —^ •- '
^5=^=^
^
l#r=fc
? *^=*=^:^=tc=*
A
o AN
/^N
*=*
S^ 5| v*
[ ,
v î^
ssEiii^zzii
-h
W
^,
k^
H
U ^1 g
^
in A A
^Ss
Hymn No. 177. Thanks for the Sabbath School. The style is vigorous,
observe proper phrasing in all voice parts. This hymn is
in 4-measure phrases.
^1 ^ [—1—1 L
——
-0 • »-
I I I
^- I
^ p p
t%r-\h}}hlp
A
^^
.
f' p
Il
p
s
r f f
l4Jpi=^
i
r r i
-M^-f-
>- l H"? i>
-^-\r
o A
^
99
r
Thanks for the Sabbath School — (Cont'd)
i —fc:k=f=4:
-^
^—^
^-
|^P=P
> ¥ > f ^ r 1
o A
Hymn No 195. Redeemer of Israel. Style is vigorous. Many tenor notes

may be played with the right hand. (For example, "C,"
last note 2nd measure.) Play the next to last two
tenor notes correctly. This hymn is in 4-3-4-3 measure
phrases.
i2^^=t: -^
fc -L^îu
^
e ^^-
e rir
ffi
T f i
r r
^22-
itzic -O- '=i-i \
? r r_
f F :«=tp=F
100-
Hymn No. 196. We Thank Thee, O God, for a Prophet. Style is vigorous.
Observe rule of sustained tone from Cannon, Organist's
Manual, page 17. This occurs in measures 2, 3, 10, 11,
14, and 15 in the soprano and alto parts. The dotted
8th and 16th note rhythm needs particular attention.
Do not leave out the Eb tenor notes at the end of the
2nd and beginning of the 3rd lines. They may be played
with the thumb of the right hand. Pedals are easy: feet
alternate when bass notes change pitch; start with the
right toe on the Eb below middle C. This hymn is in 4-
measure phrases.
m ^3? ^
mfc=>^ :f±=^
^•^^^.
-%-^^-t^
u.
4=- #—r-# -£1

#= ^
P' P
^- ^
P
^ ^ I
f=f e
A A
-&-
-^± ^ ' P P- ^-
s
:fcik :^:ac
F
^
p
fc=i"
^
r r ,
F
fe: 5Ô^ -*^=^ -2-
I
-101-
Hymn No. 213. The Spirit of Gcd Like a Fire. Style is vigorous. Pedaling
and phrasing need extra care. Hold the soprano Bb, 2nd
page, 1st line, 4th measure two counts. This hymn is
in 4-measure phrases.
^ "J
t=!^
P
m^ r
I
'^M
A,
^ ^r=f^
^=t
n
Hymn No. 214. Praise God from Whom All Blessings Flow. Style is medi-
tative, but stately. Use foot substitution to make pedals
smooth. Observe all tenor notes. This hymn is in 2-
measure phrases. *
Hymn No. 230. Behold the Great Redeemer Die. Style is meditative,
legato. Take care to repeat the repeated tones clearly.
Other notes are all legato. Play the tenor notes on 1st
line, last measure with right thumb. This hymn is in
4-measure phrases.
m^^^^^^
i^
^ t.^1
51:
f
A
A
Al A
-f r<^ • g —
1^^ S=t:
4==tt:
I
103
Hymn No. 236. Captain of Israel's Host. Style is vigorous. Watch rliythm,
tenor notes, and employ rules of the sustained tone
from Cannon, Organist's Manual, page 17. This hymn
'
is in 4-measure phrases.
M:m
^t
-»-^
r
f f
P' ¥ -
^^-pr^r
^—#-
^ r -g^-f
t
JZtA. ^,A
^
^^ =^ p^ g: r r^
I u I
T >^-r
M
1?=q?:
T^ -=V5f— ^^>
i^
-m- ^ ^ tL_^^
Hymn No. 239. Break Forth, O Beauteous Heavenly Light. Style is vig-
orous. Pedaling and phrasing need care. This hymn is
in 2-measure nhrases.
A ,oA,
A-0| A o^ Jol- ^1 ^J-JoÂ
^S
I
-<9-
-^- ^f^ E[
P
o^
B =^ ^t -^m.
104
—
Break Forth, O Beauteous Heavenly Light — (Cont'd)

A A A
/\ O A O
IgR^ P ^
m ^
¥
'm^
°j-i>
t^
A|
^ A o
igJ^
Al
tf* o —
-^
jL^g_l_F
o A
^J
* *—t—b y
^-
^ A^V ^ w
it=J:
^
i=H
i
Hymn No. 240. Come, Thou Glorious Day of Promise. Style is vigorous.
Pedaling and pinrasing need care. Hold dotted notes full
value. Left hand may help right hand at the end of 3rd
line and beginning of 4th line. This hymn is in 4-measure
phrases.
m v^
A-o
.fcrf
A
r r '
^
h r t-^
^
=»=^
^^^^^
Al
3 l^rf-^
A-o A o
-f?- -^^-^-
^SS ^ £
fcfc
^J
*
#-^
•v-
-tt-i
r
o A
- 105-
Hymn No. 241. For the Strength of the Hills. Style is vigorous. No
pedals are used for the 1st partial measure and the 1st
three counts of the 1st complete measure. Pedal comes
in on the last count of the measure on A. Play all tenor
notes. This hymn is in 4-measure phrases.
A
> -•
1^Wf^
I
No Pedal
A
o A| o A^ ^ A
S
r
=E -t^-4^
P^f^
^=f=^--^f?g^^^ ^ s
A
^^= -
^ -
E
-
gg
-•-*- ^ ^ -0-
m -t=^- -^^+1
f
^^\
I
Hymn No. 253. Hark! Listen to the Trumpeters. Style is vigorous. Ob-
serve rhythm, tenor notes, pedals, phrasing, and acci-
dentals. This hymn is in 4-measure phrases.
S -^ ^ ^
m 1
m ~^^
'U-
"^ St
- 106
t
Hark! Listen to the Trumpeters — (Cont'd)

A
^1 ^- -^ f: ^-
'M — I
iT- -^-
^=£ j=i=t
V-
Hymn No. 261. I'm a Pilgrim; I'm a Stranger. Style is vigorous. Observe
rhythm carefully; also pedals and accidentals. Watch
soprano 2nd line, 1st measure. This hymn is in 4-
measure phrases.
Al
i
H-g b ig-
i2^.
=F E
^^- ^^
A
t
Hymn No. 265. Lord, Thou Wilt Hear Me. Style is meditative, legato.
Observe rhythm of tied notes, and rests in bass clef. This
—
-t
^£^S--i^
m
îTf-MTi:^ r >
A A ^^^
^
Up! Arouse Thee, O Beautiful Zion — (Cont'd)
s S
-t
^
Jl-
^ #=
'f^
^—
g fr^=t^
Mff=f^
£* it
3^ ^
S^3=^î^ f^^J^t^^
-42-
^fe
.-.CS^
13^ -tr ?^^
a :|c=*: r y
-1
'
i * • 1* i-»-p—^-
^
A
^ ^ A
B «r
i' i
1 r-^'" i
TtZlt i
109
I
Hymn No. 290. Ye Simple Souls Who Stray. Style is meditative, legato.
Observe dotted rhythm carefully. The pedals, rhythm and
phrasing on the last line need special care. This hymn
is in 6-7-6-7-measure phrases.
mt m F ^
a ^ 3^
o A
<*A.
^
A
^^ A
!^
o
^-Vj
A o A
A o AKi
^
o
• 0- -* —
•
* m \
^c=lt
:^
O A -o
m is
o A o A A
Hymn No. 291. A Voice Hath Spoken from the Dust. Style is more vig-
orous than meditative. Exercise care to be sure that
the half notes are held their full value in measures 2, 4,
5, 9, 11, 13, 15. The measures listed are counted from
the first complete measure, not the partial one at the
beginning. This hymn is in 4-measure phrases.
ô A|
^4
t> ^
ZI& t
^
-» I L
-^ J.
imsft" £3E^ :g=fe
r-f »
A
rr^^î
- 110
A Voice Hath Spoken from the Dust — (Cont'd)
A|-
r I
INSTRUCTIONS FOR ORGAN TEACHERS

The assignments are designed so that each student may progress at his own
speed. Each student should make sure that he has prepared each assignment
well before he proceeds to the next one; assignments can easily be repeated or
augmented. At the 2nd meeting divide the organists into groups of 4-6 per hour.
While each student is at the console, the teacher should correct the student's
guide questions, pedal and phrase markings. The students performance should
not be neglected while the teacher is correcting the student's written material.
This can be accomplished only if the teacher knows the material well.
The lessons are correlated with the chorister's assignments, in preparation
for jointworkshop sessions of both groups at the tenth and twelfth meetings.
These workshops are helpful to both organists and choristers, but they should be
well organized by the teacher, correlating hymns that the organists can play with
those the choristers can conduct.
Preparation for this workshop should be made at the seventh class when
the organists meet together. At that time, the discussion of registration is pre-
sented, the material on pages 43-45 and 52-56 in the Syllabus is reviewed, and
visits are scheduled to the various organs where students are practicing. These
visits are usually made outside the regular class time, perhaps on the day of the
tenth meeting. The students are encouraged to visit all the organs. While visiting
the various organs, stop combinations should be given by the teacher for congre-
gational singing, preludes, postludes and sacrament gem music.
Where only a piano is available for church music services, the following is
suggested:
1. Follow hymn assignments, being sure the hymn is played in the proper
style and with correct technique.
2. All the manual exercises in Cannon's The Organist's Manual, and the
Nevin's First Lessons on the Organ may be played on the piano. The proper
fingering, phrasing, and rhythm should be observed.
3. The pedal studies would be omitted from the assignments.

4. It is suggested that the students practice the piano without using the
sustaining pedal.
Certificates are awarded from the General Music Committee only when
classes are taught by their field representatives. Please keep standards; see p. 1.
NOTE: The quiz should be made out by the instructor. The questions
final
should be patterned after the first quiz, but of the essay or comple-
tion type. This quiz should be given at the Eleventh Meeting, 10th
Assignment and reviewed with the students at the Twelfth Meeting,
11th Assignment. If only the organ class is taught, enlist the aid of
competent choristers for workshops. For discussion of Church Music
Policy, see Syllabus, p. v. If the Cannon Organist's Manual is not
used, see Organ Quiz No. 27, and answer sheet, p. 79 for the rule
of the sustained tone. Some examples from the Hymnal are: #67,
#168, #169, #196, #236, etc.
- Ill -
BIBLIOGRAPHY FOR ORGANISTS
1. Audsley, G. Organ Stops and Their Artistic Registration

New York: H. W. Gray Co., Inc., 1921.
2. Barnes E. Modulation in Theory and Practice and Interhides for the
Church Organist. New York: J. Fischer, 1949.
3. Barnes, W. The Contemporary American Organ.

New York: J. Fischer and Bros., 1956.
4. Boyd, C. Organ Accompaniment and Registration.

Bryn Mawr, Pa.: Theodore Presser Co., 1932.
.5. Dunham, R. Practical Transposition for Pianists and Organists.

New York: J. Fischer, 1954.
6. Grudin, M. The Well-Tempered Hamtnond Organ. Paterson;

New York: Music Textbook Co., 1953.
7. Geer, E. H. Organ Registration in Theory and Practice.
New Jersey: J. Fischer and Bros., 1957.
8. Goode, Jack C. Pipe Organ Registration

New York: Abingdon Press, 1964.
9. Irwin, Stevens. Dictionary of Hammered Organ Stops. 3rd ed. rev.

10. Irwin, Stevens. Dictionary of Pipe Organ Stops.

11. Klein, John. First to Fourth Centuries of Music for the Organ. 2 vol.
New York: Associated Music Publishers, 1948.
12. Koch, Casper. Organ Student's Gradus Ad Parnassum. 2 vol.

New York: J. Fischer, 1945.
13. Nevin, Gordon A

Primer of Organ Registration.
Bryn Mawr, Pa.: Oliver Ditson Co., 1920.
14. Rowley, Alec. Extemporisation. New York: Mills Music
15. Schouten, H. Improvisation on the Organ. New York: Mills Music
16. Schweiger, H. A Brief Compendium of Early Organ Music

New York: G. Schirmer, 1943.
17. Summer, W. The Organ, its Evolution, Principles of Construction and Use
2nd Printing. London: Macdonald & Co., Ltd., 1958.
18. Whitmer, T. The Art of Improvisation. 2nd rev.

New York: Witmarrk & Sons, 1953.
- 112 -
APPENDIX
The supplementary material listed in the appendix may be used at the discretion of
the teacher in place of the regularly prescribed books. The assignments listed
are based on one meeting per week and may be adjusted according to number of
classes held during one week. It is important that the assignments given be
adapted to the individual student. The material in parenthesis is optional and
should be given only when the student has completed the other work. It is hoped
that the hymns outlined in the regularly prescribed course will be followed. The
writer wishes to express appreciation to Professor J. J. Keeler and Donnell Black-
ham for the suggestions concerning the books, Basic Organ Technique and Basic
Organ Repertoire and to Parley Belnap for the suggestions on the assignments
from the Flor Peeters work, Little Organ Book, In order to conserve space the
following abbreviations are used:
EOT for Basic Organ Technique Use only the books the teacher sug-
BOR for Basic Organ Repertoire gests.
LOB for Little Organ Book
Note: Assignments are read as follows: The first number is the page, the numbers
following the colon are exercises. For example: 1:1-3,6 means page 1, exercises
1, 2, 3, 6 on that page. A semi-colon indicates the end of a particular page as-
signment. If only a page number is given, do the complete page.
(Course I) (Course II)
FIRST MEETING
See SYLLABUS p. 46 or 49
SECOND MEETING, FIRST ASSIGNMENT

Review quiz, study SYLLABUS pp. 1-6; 43-115
Practice through 2nd assignment below, discussion of assignment.
SIXTH MEETING, 5th ASSIGNMENT
BOT:
Answers for Guide Questions if the Cannon Organist's Manual and the
Nevin First Lessons on the Organ are not used.
Part
NOTES -

Syllabus For Choral Conducting and Organ Classes in The Church of Jesus Christ of Latter-Day Saints: Under Direction of The General Music Committee

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Syllabus For Choral Conducting and Organ Classes in The Church of Jesus Christ of Latter-Day Saints: Under Direction of The General Music Committee

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THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS

Under Direction of the

DESERET BOOK COMPANY

Printed in the U.S.A.

APPENDIX Course for other organ methods; answers

Grateful appreciation is expressed by the writer to the many stu-

1. Cannon, Tracy Y. The Organises Manual.

2. Chapel Anthems, Vol. 1

3. Cornwall, J. Spencer. Fundamentals of Conducting.

4. Heller, Ruth, arrang. & ed. Sing Unto God!

5. Heller, Ruth, arrang. & ed. Worship Him with Song.

6. Hymns. Church of Jesus Christ of Latter-day Saints.

7. Nevin, Gordon B. First Lessons on the Organ.

Organ Courses 1 and II: 1, 6, 7

Conducting Course II: 2, 3, 4 or 5, 6, 8

CHURCH MUSIC POLICY REFERENCE

To qualify for a certificate for classessponsored by the General Music Com-

2. Have a wholesome class attitude.

3. Practice carefully and systematically.

5. Show improvement in musical skills.

1. Study each assignment until you thoroughly understand it.

2. Mennorize the essential points in each assignment.

3. Apply in your practicing the material learned from the text.

4. Practice daily, to gain poise and confidence.

SOURCE MATERIALS FOR THE VARIOUS ORGANIZATIONS:

M. I. A., Current Music Manual and Supplement, Gen'l Bd. MIA

GENERAL. Fundamentals of Conducting, Cornwall, Des. Book Co.

"MAKE EVERY REHEARSAL INTERESTING, EDUCATIONAL, DEVOTIONAL, AND

GENERAL THEORETICAL TERMS:

3. Clef — Symbol that indicates pitch.

6. Double sharp — Raises note one full step.

25. Triple meter — Three beats per measure.

TERMS INDICATING TEMPO, VARIATIONS OR DIRECTIONS.

e. Avoid excessive gesticulations, don't duplicate the beat-pattern with the

This suggests Musically:

a. Know the proper cue-beats and beat patterns.

c. Use a baton for the congregation.

f. Show respect and courtesy toward congregation and organist.

SECOND MEETING, 1ST ASSIGNMENT

SEVENTH MEETING, 6TH ASSIGNMENT

EIGHTH MEETING, 7TH ASSIGNMENT

NINTH MEETING, 8TH ASSIGNMENT

TENTH MEETING, 9TH ASSIGNMENT

ELEVENTH MEETING, 10TH ASSIGNMENT

TWELFTH MEETING, 11 TH ASSIGNMENT

GUIDE QUESTIONS FOR CHORISTERS

2. Define the functions of the cue-beat. .-.-

3. Define the term measure. - - -

4. Should each verse of a hymn have a cue-beat? ._ -

5. Explain how to hold the baton properly. .- -

6. The time signature (meter signature) indicates — -..- -- —

beginnings are used. — - -- - -•

4. Explain the functions of the cue-beat.

2. How long should a hold usually be held? _

3. What is generally done with a hold at the end of a phrase?

Give an example of a hymn where this occurs.

4. What is generally done with a hold occuring during the phrase?

5. When would a hold be cut during a phrase?

6. When is a hold absorbed at the end of a phrase?

8. What is generally done when a hold is followed by a rest? _

9. Should each verse of a hymn have a cut-off? _.

purposes. They are .-