I.

FOREWORD
THE INSTRUMENT

The orgon is o mony-voiced wind instrument. The Wind mechonism

wind pressure is supplied by o blower ond bellows. The
musicol sound is produced directly by the orgonist who Whot the lungs ore for o singer, the bellows ore for
monipulotes the keys ond the stops ot the console. the. orgon, supplying os they do the compressed wind
ond holding it in reqdiness for use. The windtrunk or
The console of o complete orgon hos two monuols chonnel conducts the wind from the heovy-pressure
ond o pedol keyboord. Orgon consoles for lorge orgons bellows to the windchest ond soundboord.' 'An im-
often hove three or four monuols ond o pedol [.eybocrd. portont element is the reguloting bellows which serves
Orgons ore usuolly designed for specific purposes ond to keep the wind ot o steody pressure.
locotions. lf on orgon for exomple, is to be used pri-
morily for choir occomponiments in o porticulor church Action
of given dimensions, it will be designed tonolly for thot
purpose ond given o physicol shope for thot ploce. lf , The oction includes the soundboord, the slides, pol-
on the other hond, it is to be used os o solo ond ensem- lets ond stop mechonism. There ore three types of-oc-
ble instrument in o concert holl, the tonol ond physicol tion; mechonicol, opero-
design will be different. ted by meons of o lever;
pneumetic, by windpres-
The principol ports of the orgon ore: sure; ond electric, by
meons of electric mog-
l) The wind mechonism (heovy pressure bellows, nets. The soundboord or
trunking, reguloting bellows, etc.) chest is the heort of the
2) The oction, (windchest, soundboord, pollets, orgon where the mecho-
monuols, etc.) nism of the oction ond
thot of the stops cooper-
3) The pipework (sound-producing port of the or- ote in producing sound
gon) from the pipes.

V
 The keyboords ond pedols consist of o certoin num- Pipework
ber of keys the monipulotion of which controls the oc-
tion. Eoch stop hos its own distinctive tone-color ond The pipes os the sources of musicol sound, consti-
pitch, while eoch keyboord hos its own tone chorocter tute the most importont component of the orgon. Pipes
owing to the distinctive fomily of stops it governs. The difter in form, ciimension ond moteriol The form moy
keyboords or monuols ore ploced in terroce formotion. be cylindrjcol, conicol or pyromidol. Moteriol moy be
They con be coupled together ond to the pedols. Thus wood or metol of vorious kinds. Pipes ore colled
we hove monuol ond pedol couplers os well os octove flues (lobiols) or reeds (linguols) occording to their
ond sub-octove couplers which roise or lower the pitch distinctive tone quolity or timbre. The pitch in flue-
by on octove. pipes is determined by the length, width ond form of
The usuol keyboord orrongements ore the following: the pipe; in the reeds by the tongue ond the boot.
A register (stop) is o series of orgon pipes from the
I) Orgon with two monuols: lorgest to the smollest, homogeneous in timbre ond in-
Swell or Choir - Upper keyboord tensity, eoch pipe corresponding to o key on the monuol.
A drowstop or stop-key on the console brings the series
Greot - Lower keyboord
into ploy. These registers or pipe series ore divided into
2) Orgon with three monuols: seven fomilies, occording to timbre. These fomilies ore:
Dioposon, Flute, Bourdon, String, Mutotion, Mixture,
Swell - Topmost keyboord ond Reed. A pipe corresponds to eoch key, except in
Greot - Middle keyboord the cose of the mixture where there is more thon one
Choir - Lowest keyboord pipe to eoch key.
The relotive pitch of registers is expressed in terms
3) Orgon with four monuols: of feet. The pitch of the eight-foot register (8') is thot
Solo - Topmost keyboord of the piono. Generolly speoking, the pipe of the low-
Swell - Upper middle keyboord est C of on eight-foot register is eight feet long. A reg-
Greot - Lower middle keyboord ister holf thot length (4') will sound on octove higher,
Choir - Lowest keyboord ond o register double thot length (16') will sound on

VI
octove lower, ond so on, occording to the ordinory lows Combinotions.
of ocoustics.
There ore two kinds of combinotions: the "fixed"
A mutotion stop is o register which does not produce combinotion ond the "free" combinotion.
the normol note of the key ployed, but o noturol hor-
monicof thot note. The nozordZ A3 (quint) produces The "fixed" combinotion is ploced beneoth the
the third noturol hormonic or l2th. monuols in the form of o thumb-piston ond when
pressed brings on groups of stops. The thumb-pistons
The mixtures odd combinotions of super hormonics, beor the lobels: PP (pionissimo), P (piono), F (forte),
vorying in number occording to the number of ronks FF (fortissimo) ond T (tutti). These "fixed" combino-
engoged, the number being frequently indicoted on the tion pistons ore folling into disuse in most modern orgon
stop. Mixture 4r '- four hormonics. Above o certoin building. They ore colled "fixed" becouse the orgonist
point on the keyboord, speciol modificotions hove to moy not chonge ot will the stops governed by eoch of the
be employed by the builder os the hormonics would pistons.
be of too high o pitch to be procticoble or oudible. These The "free" combinotions on the other hond, ore of
modificotions ore termed "breoks" or "returns". greoter benefit ond importonce. Like the fixed com-
Combination ol a 4 to 5r rrixture with binotion, these ore usuolly found os thumb-pistons be-
indieation ol the breaks: neoth the monuols, but unlike the fixed combinotion
c tl/t
go2l%1
7 2/s t/z
2/s piston, the stops which eoch "free" piston brings on
cr 22/:y 2 ll/..t I
%
2/s con be prepored ot will by the orgonist. ln this woy he
91 4 Z2/s z IYB 1 con prepore os mony combinotions of stops os there ore
s2 4 4 22/s 2 11;/s pistons on the orgon. ln the cose of o lorge instrument,
Combinotion ol a 3r Cimbel with indicatiorr these odjustoble or "free" combinotions con be of in-
ol the breaks:
estimoble volue in plocing ot the disposol of the orgonist
C r/a r/,j
YB
the mony tonol colors contoined in the instrument. The
co l/J 1,h

fo Yz
YE,
ra \/a "{tee" combinotion pistons ore orronged in numericol
c1 2h 1/z 1A
sequence for pedol ond eoch of the monuols .

fl
c2
1 '/:l r/,t
There ore often combinotion pistons known o s
{r2
7YB 1
L% 1 "generol" pistons which control the entire tonol re-
c3 2% 7tb sources of the orgon.

vlr
 The Swell Pedql. A section of the instrument is en- BOURDONS: REEDS:
closed behind o series of shutters which ore copoble (Gedeckt) Gedeckt Trumpet 16', 8', 4'
of being groduolly opened ond closed by meons of o foot 32" 16" 8" 4', Bomborde 32', 16'
level "swell pedol" By the use of this pedol, o con- Bourdon 16', 8' Posoune 32', 16'
trolled crescendo or diminuendo is mode possible ond Sub-boss 32',16' Clorion 4'
g reoter expressiveness otto i ned. Nochthorn l6', 8', 4', 2' Zink 2'
The Generol Crescendo pedol. (Roll-Schweller), grod- Quintenboss I6', 8' Tubo 16',8'
Hohlfl6te or Hohlpfeife Dulcion B'
uollybrings into ploy oll the stops of the orgon from the 8' , (4') Dulcion Regol l6'
56ftest up to the full power of the instrument. Fogotte 16'
Finolly, here follows o list of the nomes of the stops MUTATIONS: Bossoon l6'
in generol use, clossified in fomilies: Quint lO 2/3,5 1t3, Oboe 8' (4')
2 2/3, 1 1/3 Horn 8'
IAPASONS STR INGS: Cholumeeu 8' , 4'
D :
Grossnosot 5 I /3
Prestont 16',8' or 4' Gombo B' Nozord Z 2/3 Cromorne 8'
Dioposon 16',8' or 4' Violinboss l6' Grossterz 6 2/3 Bcirpfeife 8', 4'
Principol 16', 8' or 4' Dolce 8' Tierce3li5, l3/5 Ronket l6'
Montre 8' Solicionol B' Septidme (seventh) Sordun 32', l6'
Contrebosse I6' Fugoro 8', 4' 4 4/1 ,2 2/1, I l/1 Clorionet 8'
Octove 8',4' or 2' Spitzgombo 8' Cor onglois 8'
Doublette 2' Eoline 8' M IXTURES: Vox humono 8'
Gemshorn 8', 4' Mixture 3, 4,5,6,7 to Regol 8', 4'
FLUTES: Violo 8' B ronks ond more
Block f lute 8',4' or 2' Violo di gombo 8' Plein Jeu 3, 4 or 5 R
Clorobello 8' Cello 8' Cimbol 3to7R
Concert Flute 8' Voix celeste 8' Cornet3to5ond6R
Flute Troversiere 4' Progressio3to5R
Flogeolet 2', l' Shorp mixture 3 to 5 R
Open Flute, Wood Flute 8' Corillon2to3R
Flute dolce 8' Rouschpfeife3toTR
Rohrf lote 8', 4' Sesquiolter 2 (to 3) R
Spitzf l6te 8',4' or 2' Tertion 2 R
Woldflote 2'
Flute hormonique 8',4'

vlll
The following chort is o scheme of fundomentolsond mutotion stops indicoting the pitch they produce:

Harmonic Series
Pitch in relation to note played
4',1z',1t',
two octaves lower
one octave lower
a perfect fourth lower
8' i normal pitch of note played
6-2/S', a major third higher
a perfect fifth higher
a minor seventh lower
one octave higher
3-1/5', one octave and a third higher
one octave and a fifth higher
one octave and a seventh higher
two octaves higher
1-3 / 5', two octaves and a third higher
two octaves and a fifth higher
1-1 /1', two octaves and a seventh higher
three octaves higher

IX
 ELEMENTARY RU LES FOR ORGAN PLAYING
Position ot the Orgon body ond honds flexible ond firm when in contoct with
the kevs. The ottock must be decisive with flexible
Correct bodily position is of greot importonce be- elostic fingers. During solo pedol possoges the honds
couse of its effect on the technique of performonce. moy rest on the seot. The position of the feet is of equol
The orgonist seoted in the middle of the seot, must irnportonce. Generolly speoking the knees ond feet
hold his body erect sufficiently inclined forword to se- sh,--'uld be held close together, the feet mointoining con-
toct with the pedols. During o prolonged rest, the right
foot moy be ploced on the swell pedol. Attock ond re-
leose murst be quick ond decisive.
F lor Pcctcrs
How to Proctice
shorvirtg
Much time ond effort ore wosted by unprepored, un-
corrcct methodicol proctice. Mony ployers know o piece only
ofter ploying it over ond over ogoin. lt is o mechonicol
position monner of ploying without intelligent grosp of the com-
at Consolc
position.
Anolytic study must prevoil. No motter how simple
of an C)rgan o composition, its stru.cture should be onolyzed before
octuol proctice ot the keyboord.
ln the beginning, oll ploying should be very slow,
eoch hond ond the pedols seporotely. ln polyphonic
works the student must decide by previous study to
which hond eoch section of on inner port is to be os-
signed.
Where finger ond pedol morks ore not supplied, the
student should determine these only ofter coreful study
ond octuol triol. Once determined this fingering ond
pedolling should be memorized ond permonently re-
toined.
After procticing eoch hond ond pedols seporotely,
both honds moy be procticed together; then eoch hond
cure comfortoble reoch of the monuols. His posture re- seporotely rvith the pedols; ond f inolly, monuols ond
moins quiet while ploying with the elbows close to the pedols combined.

X
 II. EmrENTARY ExnncrsEs
Attack
Keep the hands motionless and the fingars ir ccntaot x.ith the keys throughout the exercise. Practice hands s€parately at firct,

(orrca J = oo)

+
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(

]I. & R, Co.509l

 Legato
Perfect legato playing is an elementary anal ess€ntial factor in organ playirg. Thers must be no break in the line as fingets pass
from one note to anotheri nor must there be an oyerlapping of the tones,
(circa J. (r0
)

i)

3
I

I
4

Legato and staccato notes

i)

)1. & R. Co. 5091

8
III. TWO-PART MANIIAL PLAYING
I{ou, My To e, the M3tst'rY Telling*
Moderato J = sz
1

apas0n

+This melody is also known as a setting of. Tanlun ergo sacramenlum'

]1. &R',Co' 5091
God My Father, Looing Me
Andante J = os
IU4 t

fts

.J

Father, We Thu 'nk Thee for Night

the
t)
Andannte con moto I =22
r IIIl
lll Oboe 8'
D \
Il Bourd., ,')
0ctave 4' \

II. & R. Co. 6091