Flor Peeters - Organ Book PDF [PDF]

Zitiervorschau

FLOR PEETER.'

LITTLE ORGAN BOOK For

Beginners

in Organ Playing

Includa Graded Exercisa 0n Well-Knrutn Hymn

Summy-Birchard Inc. Exclusively distnbuted by Alfred Publishing co., Inc.

Tunes

@ 1957 Surruny-Birchard Music

Division of Summy-Birchard Inc. Exclusive print rights administered by Alfred Publishing Co., Inc

All rights reserved. Printed in USA. ISBN 087487-600-l

INDEX OF CONTENTS Flor Peeters' Proctice Orgon

I

IV

Foreword The lnstrumeni Wind Mechonism Action Pipework Elementory Rules for Orgon Ploying Position ot the Orgon

V

x

How to Proctice

l! lll lV V Vl Vll lX X

Registrotion. . For Choir Accomponiment For Orgon Literoture Index of Hymn Tunes ond Originol Compositions Elementory Exercises, Attock, Legoto,. . Crossing, Substitution, Glissondo, Rules for Performonce Two-port Monuol Ploying Elementory Fedol Exercises (toes), Attock, lntervols, Studies Three-port Ptoying Preporotory Two-port Exercise for one Hond Three-port Monuol Ploying Pedol Exercises for Toe ond Heel . . . . Two-port Monuo! ond pedol ploying. . . .

Four-port Monuol ploying Four-port Monuol ond pedol ploying.

..

lil

.

xt

xil I

8

l8 25 28 43

50 56 82 88

Flor Peeters' Smollest Proctice Orgon

Pipe Specif icotions

for Proctice Orgon:

Rohrfl6te 8' Prestont 4' Rohrfldte 4' Octove 2' Cimbel 3r Extro ronk for Pedol: Resultontbos I6'

lnstrument hos five ronks of pipes ovoiloble on eoch monuol ond in the pedol, with on extro ronk in the pedol

IV

I.

FOREWORD THE INSTRUMENT

The orgon is o mony-voiced wind instrument. The wind pressure is supplied by o blower ond bellows. The musicol sound is produced directly by the orgonist who monipulotes the keys ond the stops ot the console.

Wind mechonism Whot the lungs ore for o singer, the bellows ore for the. orgon, supplying os they do the compressed wind ond holding it in reqdiness for use. The windtrunk or chonnel conducts the wind from the heovy-pressure bellows to the windchest ond soundboord.' 'An importont element is the reguloting bellows which serves to keep the wind ot o steody pressure.

The console of o complete orgon hos two monuols ond o pedol keyboord. Orgon consoles for lorge orgons often hove three or four monuols ond o pedol [.eybocrd. Orgons ore usuolly designed for specific purposes ond locotions. lf on orgon for exomple, is to be used primorily for choir occomponiments in o porticulor church of given dimensions, it will be designed tonolly for thot purpose ond given o physicol shope for thot ploce. lf , on the other hond, it is to be used os o solo ond ensemble instrument in o concert holl, the tonol ond physicol design will be different.

Action The oction includes the soundboord, the slides, pollets ond stop mechonism. There ore three types of-oction; mechonicol, operoted by meons of o lever;

pneumetic, by windpressure; ond electric, by

The principol ports of the orgon ore:

l) 2)

meons of electric mognets. The soundboord or chest is the heort of the orgon where the mechonism of the oction ond thot of the stops cooperote in producing sound from the pipes.

The wind mechonism (heovy pressure bellows, trunking, reguloting bellows, etc.) The oction, (windchest, soundboord, pollets, monuols, etc.)

3)

The pipework (sound-producing port of the orgon)

V

The keyboords ond pedols consist of o certoin number of keys the monipulotion of which controls the oction. Eoch stop hos its own distinctive tone-color ond pitch, while eoch keyboord hos its own tone chorocter owing to the distinctive fomily of stops it governs. The keyboords or monuols ore ploced in terroce formotion. They con be coupled together ond to the pedols. Thus we hove monuol ond pedol couplers os well os octove ond sub-octove couplers which roise or lower the pitch by on octove. The usuol keyboord orrongements ore the following:

Pipework

The pipes os the sources of musicol sound, constitute the most importont component of the orgon. Pipes difter in form, ciimension ond moteriol The form moy be cylindrjcol, conicol or pyromidol. Moteriol moy be wood or metol of vorious kinds. Pipes ore colled flues (lobiols) or reeds (linguols) occording to their distinctive tone quolity or timbre. The pitch in fluepipes is determined by the length, width ond form of the pipe; in the reeds by the tongue ond the boot. A register (stop) is o series of orgon pipes from the lorgest to the smollest, homogeneous in timbre ond intensity, eoch pipe corresponding to o key on the monuol. A drowstop or stop-key on the console brings the series into ploy. These registers or pipe series ore divided into seven fomilies, occording to timbre. These fomilies ore: Dioposon, Flute, Bourdon, String, Mutotion, Mixture, ond Reed. A pipe corresponds to eoch key, except in the cose of the mixture where there is more thon one pipe to eoch key. The relotive pitch of registers is expressed in terms of feet. The pitch of the eight-foot register (8') is thot of the piono. Generolly speoking, the pipe of the lowest C of on eight-foot register is eight feet long. A register holf thot length (4') will sound on octove higher, ond o register double thot length (16') will sound on

I) Orgon with two monuols: Upper keyboord Lower keyboord

Swell or Choir

Greot

-

-

2) Orgon with three monuols: Swell - Topmost keyboord Greot - Middle keyboord Choir - Lowest keyboord 3) Orgon with four monuols: Solo - Topmost keyboord Swell - Upper middle keyboord Greot - Lower middle keyboord Choir - Lowest keyboord

VI

octove lower, ond so on, occording to the ordinory lows

Combinotions.

of ocoustics.

There ore two kinds of combinotions: the "fixed" combinotion ond the "free" combinotion.

A mutotion stop is o register which does not produce the normol note of the key ployed, but o noturol hormonicof thot note. The nozordZ A3 (quint) produces the third noturol hormonic or l2th.

The "fixed" combinotion is ploced beneoth the monuols in the form of o thumb-piston ond when pressed brings on groups of stops. The thumb-pistons beor the lobels: PP (pionissimo), P (piono), F (forte), FF (fortissimo) ond T (tutti). These "fixed" combinotion pistons ore folling into disuse in most modern orgon building. They ore colled "fixed" becouse the orgonist moy not chonge ot will the stops governed by eoch of the

The mixtures odd combinotions of super hormonics, vorying in number occording to the number of ronks engoged, the number being frequently indicoted on the stop. Mixture 4r '- four hormonics. Above o certoin point on the keyboord, speciol modificotions hove to be employed by the builder os the hormonics would be of too high o pitch to be procticoble or oudible. These modificotions ore termed "breoks" or "returns". ol a 4 to 5r rrixture ol the breaks:

Combination indieation

tl/t c go2l%1 cr 22/:y 91 4 s2 4

ll/..t

z 22/s

with

t/z

2/s I IYB 2

% 2/s

1 11;/s

breaks:

C

r/a

co

l/J

fo

c1 fl c2

2 Z2/s 4

2/s

The "free" combinotions on the other hond, ore of greoter benefit ond importonce. Like the fixed combinotion, these ore usuolly found os thumb-pistons beneoth the monuols, but unlike the fixed combinotion piston, the stops which eoch "free" piston brings on con be prepored ot will by the orgonist. ln this woy he con prepore os mony combinotions of stops os there ore pistons on the orgon. ln the cose of o lorge instrument, these odjustoble or "free" combinotions con be of inestimoble volue in plocing ot the disposol of the orgonist the mony tonol colors contoined in the instrument. The "{tee" combinotion pistons ore orronged in numericol

ol a 3r Cimbel with indicatiorr

Combinotion

ol the

7

pistons.

{r2 c3

r/,j

Yz 2h 1 7YB

1,h

ra

\/a

1/z

1A

'/:l

r/,t

for pedol ond eoch of the monuols ore often combinotion pistons known o s There "generol" pistons which control the entire tonol resources of the orgon. sequence

1

L% 2%

YB

YE,

1

7tb

vlr

.

The Swell Pedql. A section of the instrument is enclosed behind o series of shutters which ore copoble of being groduolly opened ond closed by meons of o foot level "swell pedol" By the use of this pedol, o controlled crescendo or diminuendo is mode possible ond g reoter expressiveness otto i ned. The Generol Crescendo pedol. (Roll-Schweller), groduollybrings into ploy oll the stops of the orgon from the 56ftest up to the full power of the instrument. Finolly, here follows o list of the nomes of the stops in generol use, clossified in fomilies: D

IAPASONS

:

Prestont 16',8' or 4' Dioposon 16',8' or 4' Principol 16', 8' or 4' Montre 8' Contrebosse I6' Octove 8',4' or 2' Doublette 2' FLUTES:

Block f lute 8',4' or 2' Clorobello 8' Concert Flute 8' Flute Troversiere 4' Flogeolet 2', l' Open Flute, Wood Flute 8' Flute dolce 8' Rohrf lote 8', 4' Spitzf l6te 8',4' or 2' Woldflote 2' Flute hormonique 8',4'

STR INGS: Gombo B'

BOURDONS:

REEDS:

(Gedeckt) Gedeckt 32" 16" 8" 4', Bourdon 16', 8'

Sub-boss

Trumpet 16', 8', 4' Bomborde 32', 16' Posoune 32', 16'

32',16'

Nochthorn l6', 8', 4', 2' Quintenboss I6', 8' Hohlfl6te or Hohlpfeife 8' , (4')

Bossoon l6' Oboe 8' (4') Horn 8'

MUTATIONS: Quint lO 2/3,5 1t3,

2 2/3, 1

1/3

Grossnosot 5 I /3 Nozord Z 2/3 Grossterz 6 2/3

Violinboss l6' Dolce 8' Solicionol B' Fugoro 8', 4' Spitzgombo 8' Eoline 8' Gemshorn 8', 4' Violo 8' Violo di gombo 8' Cello 8' Voix celeste 8'

Tierce3li5, l3/5

Septidme (seventh) 4 4/1 ,2 2/1, I l/1 M IXTURES: Mixture 3, 4,5,6,7 to B ronks ond more Plein Jeu 3, 4 or 5 R

Cimbol

3to7R

Cornet3to5ond6R Progressio3to5R

Shorp mixture 3 to 5

R

Corillon2to3R

Rouschpfeife3toTR

Sesquiolter

Tertion 2

vlll

R

2

(to 3)

Clorion 4' Zink 2' Tubo 16',8' Dulcion B' Dulcion Regol l6' Fogotte 16'

R

Cholumeeu 8' , 4' Cromorne 8' Bcirpfeife 8', 4' Ronket l6' Sordun 32', l6' Clorionet 8' Cor onglois 8' Vox humono 8' Regol 8', 4'

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

Pitch in relation to note played

two octaves lower one octave lower

8' 6-2/S',

i

a perfect fourth lower normal pitch of note played 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 1-3 / 5',

1-1 /1',

two octaves higher two octaves and a third higher two octaves and a fifth higher two octaves and a seventh higher three octaves higher

IX

Harmonic Series

4',1z',1t',

ELEMENTARY

RU LES FOR

Position ot the Orgon

ORGAN PLAYING

body ond honds flexible ond firm when in contoct with

the kevs. The ottock must be decisive with flexible elostic fingers. During solo pedol possoges the honds moy rest on the seot. The position of the feet is of equol irnportonce. Generolly speoking the knees ond feet sh,--'uld be held close together, the feet mointoining contoct with the pedols. During o prolonged rest, the right foot moy be ploced on the swell pedol. Attock ond releose murst be quick ond decisive.

Correct bodily position is of greot importonce becouse of its effect on the technique of performonce. The orgonist seoted in the middle of the seot, must hold his body erect sufficiently inclined forword to se-

F

lor

Pcctcrs

How to Proctice Much time ond effort ore wosted by unprepored, unmethodicol proctice. Mony ployers know o piece only ofter ploying it over ond over ogoin. lt is o mechonicol monner of ploying without intelligent grosp of the composition. Anolytic study must prevoil. No motter how simple 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-

shorvirtg

corrcct position

at Consolc

of an

C)rgan

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 retoined. After procticing eoch hond ond pedols seporotely, both honds moy be procticed together; then eoch hond seporotely rvith the pedols; ond f inolly, monuols ond pedols combined.

cure comfortoble reoch of the monuols. His posture remoins quiet while ploying with the elbows close to the

X

REGISTRATION For Choir Accompanirnent

o lorge group with o principol chorus of 8' ond 4'ond o mixture on the some keyboord. ln cose one wishes to ploy the melody in solo, use the foundotion 8',4', Z', plus o Cornet on the first monuol or the solo, ond 8'ond 4' {or the occomponiment of the second monuol. The pedol should be registered with l6' ond 8' stops, ond olso coupled to the second monuol.

For Ploin Chont registrotion, preference should be given to.8' stops of neutrol tone-colort e.g.t Bourdon 8', Gemshorn 8', Cor-de-Nuit 8', Clorobello'8', Flute o Chemin6e 8', Soft Flute 8' (not the Hormonic Flute 8') or o soft oid-style Principol B'; with o Bourdon I6'in the pedols, oll this nicely odopted to the strength of the choir thot is to be occomponied. For the occomponiment of children's or women's choir, o soft 4' stop moy be odded, which is olso odvisoble for o smoll mixed

For Orgon Literoture

For orgon works of the old ond clossic literoture with o contus firmus melody, use o Cornet 5 ronks, trumpet 8', or softer reeds such os Cromorne 8', Scholmey 8', and Regal 8', either alone or with the addition

choir. For

o lorge body of singers (congregotion) or for

o

lorge mixed choir, the orgonist moy odd occording to the strength of the voices, the position of the orEon, the size of the building, strong 8'ond 4' stops, os well os 2', even mixtures on the Greot, ond sometimes olso o soft l6' stops. Stops of o pronounced string quolity should not be employed in the occomponiment; theyrsustoin less successfully, ottroct too much ottention, ond lock the dignity ond reverence proper to this essentiolly socred music. A soft l6' pedol with o discreet 8'odded best sustoins the voices, ond thus mointoins pitch. Perhops it is preferoble in the cose of the more eloborote melismotic melodies not to use the pedol, or ot leost to do so with greot discretion. lf chonters olternote with the choir it is well to use the pedol onlyoteoch entry of the choir.

to the soft reeds of o few mutotion stops or o mixture. Orgono Pleno in the clossic pre-Boch ond Boch periods meons generolly Principols (Dioposons) l6', 8', 4' ond.2', plus mixtures, cymbols ond o few not-too-heovy reeds.

A combinotion of o string (not too smoll scole)

For populor hymns ond choroles the generol rules

for proportion ore the some os those given for ploin

chont. lt is odvisoble to occompony

o

Solicionol 8' ond o Nozord 2 2/3' con be used with good results insteod of o soft reed, os on Oboe. A Flute B' (or Bourdon 8') with the some Nozord 2 2/3'is o good imitotion of o Clorinet 8' or of o Cromorne 8'. When one mixes o modern Vox Humono 8'with o Rohrf lote 4' , o Nozord 2- 2/3', or o Tierce I 3r5' \or with the oddition of both the lotter) the sound is like thot of o soft reed, with o color useful in the registrotion of old orgon literoture. For the Old Mosters ond the clossic lrteroture, the orgonist should not use too mony heovy reeds, os they moke the polyphonic writing ond the voice leoding un-

cleor. ln

choroles sung by

XI

Romontic ond modern literoture the Vox

8' is used without tremolo ond for hormonic possoges.only, never for melodic lines or solo. This stop should not be mixed with lorge flutes or mutotion stops. Celeste

cleorer thon in o concert holl where there is generolly not so much reverberotion. , The finol guide to the ort of registrotion should be whot one leorns through o good educotion in ortistic toste, the study of orgon specificotions ond orgon literoture of oll styles, ond the experience of ployiig different orgons.

The regist.rotion must be odopted to the tempo of the music ond to the ploce in which one is ploying. ln o lorge church the registrotion should be smoller-ond

lndex of Hymn Tunes ond Originol Compositions Where hyn.rn tunes ore orronged in the form of chorores or chorolepreludes, the voice line which corries the tune is indicoted os C. F. (Contus Firmus). Title No. III. TWO. PART MANUAL PLAYING I Now, My Tongue, the Myst'ry Telling 2 God, My Fother, Loving Me 3 Fother, We Thonk Thee for the Night 4 O Socred Heod 5 O Socred Heod 6 lnvention 7 Worum sollt ich mich denn grtimen

8 9 10 V. I 2 3 4 5 6 7 8 9

Composer

-

.4rranger

Flor Peeters Flor Peeters Flor Peeters

lor Peeters J. Pochelbel F

Flor Peeters

J. G. Wolther

Form

Page

C. F. in Sop. C. F. in Boss C. F. in Sop. C. F. in Tenor C. F. in Sop.

8 9 9

l0

il

12

Ornomented

Melody in Versus Vl Toni lnvention

A. V. den Kerckhoven

O Gott. du frommer Gott

J. S. Boch

Portito

THREE - PART Prelude Now My Tongue

Flor Peeters Flor Peeters

Elr.

Sop.

t3

l4

Flor Peeters

r5

l6

MANUAL PLAYING

Allein Gott in der Hiih sei

Ehr

Mognificot lV Toni Wie sch6n leuchtet der Morgenstern O Socred Heod O Socred Heod Veni Creotor

Gottes Sohn ist kommen 10. O Come, All Ye Foithful

F. W. Zochow G. Corissimi

D. Euxtehude

J. Pochelbel Flor Peeters Flor Peeters

J. S. Boch Flor Peeters

xil

,oo

',., Sop. C. F. in Verset C. F. in Sop. C. F. in Boss C. F. in Sop. lnvention Fughetto

C F in

Sop.

28 29 30

3l 32 34 36 38 40 42

No.

Title

Composer

-

Arranger

VII. TWO - PART MANUAL AND PEDAL PLAYING 'I Prelude Flor Peeters 2 Prelude Flor Peeters 3 lnvention Flor Peeters 4 God, My Fother Flor Peeters 5 Fother, We Thonk Thee Flor Peeters 6 O Socred Heod Flor Peeters 7 lnterlude J. Hobert 8 Prelude J. Hobert

VIII. I 2 3 4 5 6 7 8 9 l0

Jesus Christ ls Risen Todoy

O Socred Heod Jesus Christ ls Risen Todoy God, Fother, Proise oncj Glory Von Himmel hoch Jesus Christ ls Risen Todoy

Andonte

Von Himmel hoch Unto Thee I Cry, O Lord Jesus

IX. FOUR - PART MANUAL PLAYING I Holy God, We Proise Thy Nome 2 Versus Vl Toni 3 Versus I Toni 4 Liebster Jesu, Wir sind hier 5 Versus V Toni I 2 3 4 5 6

Page

C. F. in Pedol C. F. in Sop.

50 5C

50

C. F. in Pedol C. F. in Sop. C. F. in Pedol

5l

C. F. in Sop. C. F. in Sop. C. F. in Sop. C. F. in Tenor C. F. in Tenor C. F. in Pedol C. F. in Pedol Th ree-port C. F. in Pedol Ornomented

56 59 62 64 67 70 72 75 77

Melody in

80

5r 52 53 54

THREE-PART MANUAL AND PEDAL PLAYTNG

Creotor olme siderum

X.

Form

FOUR - PART MANUAL

F. W. Zochow

Flor Peeters J. L. Krebs J. Pochelbel J. S. Boch

Flor Peeters A. de Cobezon J. K. Kerll

Chorole

J. S. Boch J. Pochelbel

Chorole

Sop.

82 83 84 85 86

AND PEDAL PLAYING

Now, My Tongue Dernier Kyrie (From Gregorion Moss No. lV) Herr Gott, loss dich erbormen Jesu nreine Freude

Gelobet seist du, Jesu Christ Prelude ond Fugue in C

Flor Peeters J. Titelouse Flor Peeters Flor Peeters Flor Peeters

Flor Peeters F. Couperin

H. lscoc J. S. Boch J. S. Boch J. S. Boch

xlll

Chorole C. F. in Pedol

88 90

Chorole

92 94 96

Mel. C. F. in Sop.

Ornomented

100

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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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

)

1 i)

3

I

I

4

Legato and staccato notes i)

)1. & R. Co. 5091

Crossing of the thumb

,

Finger - crossing A line over the figure indicates crossing oaer the finger. A line under the figure indicates crossing under the finger.

oioi

6464

4343 3 t2

3

ris-+

oo k.r&

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3

2

3 ?3 4343

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aI

4343

232

?-

32 43 64

3:

o3

s! +9

[+

Substitution The substitution must be made immediately upon

ariving at the new note. 4-6 3-4 t-2

etc,

lv?, 3-4 4-5 6--A

3 b .\1. &

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etc.

a-J -t

r-12 3-4 2-3 1r-6

l-j2 3-4 Z-3 4--b

4

6v4

6 ooo

6--4

4-;J 2-l

L l=L 3 4-3

etc.

O*O

etc.

3=i 4-3

etc.

Transpose into :rll keys.

6v4

4_-5

3. _4 tJz

4.-3

;:=

Transpose into all keys.

Glissando Finger glissando, from black to white key.

3 -=:3

5

5 _5,

3

etc.

-3

Glissando of the thumb

t_ t

)1. & R. Co. 5091

Rules for performance 1)A

repeated note loses one half of its value in a quick or moderate temPo.

Allegro

J

=gZ

Ex;rmple

Fugue in E. J. S. Bach (Peters trI)

Allegro

J = ao

Example

Played

z)

ln a slow tempo a repeated note loses a quarter of its value. Adagio J :46 Played

t,.."rOr"

I

o4+

7:. =.

a+.+'

-€>

tl

lr

( Choralprel: Exirmple

Christus der uns selig ma.cht, J. S. Bach Adagio J = 54

(Peters Y)

PIayed

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1'

+

-G

3)A

repeated note loses the value of the dot.

Moderato

examrte

J

=

ros

J

t Canzona.

(Peters IY) J. S, Bach

Andante con moto

Example

4)

Played

When two adjacent parts have a note in common, the

Choral in A. Example

C. Franck.

$fegTtt--i9z

ar xt

L

)-

r

-+-t-

I

rrf fx l )- -J -l

r

+

t-

Jb)

latter of the two is treated as a tied note.

LI

5) In "Pleno" or in comparatively loud, strongly rhythmical passages, successive chords are played Toccata 'in .F. J. s. Bach (Peters III) AT1

detached.

J

Example

.tr 6) Skips of octaves, partioulariy down$ard 6kips ar6 playeal detacheal at the end of phrases, when the strong beat, and the second is followed by a rest.

first note

Regdding mole ertendeal rules of perfomaaoe ard ornametrtatlon see "Ars OlAaai" complete orgaa Deihod h tt!,ee parts.

C. F.

occurs on the

Iletels Co!p.,

tiy

III.

8

I{ou, My

To

TWO-PART MANIIAL PLAYING

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

IU4 t

J = os

fts

.J

for

Night Andannte con moto I

Father, We Thu 'nk Thee

r IIIl lll

Oboe

8'

D

\ Il

,') 4' \

Bourd., 0ctave

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6

Oct avc

4 rnopean

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Sostenuto

III

J.

sr

J.

Pachelbel 1653-1706

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Inoention

6

Il.

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All.egro moderato J=so

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