The New LDS Organist Packet - Organ Study at BYU

Transcription

[email protected]; 801-422-3260
C-550 HFAC, BYU, Provo, Utah 84602
The New LDS Organist
A Guide through the First Months
v.1205
This course of twelve lessons is designed to help pianists adapt their skills to the organ as soon as
possible. Lessons 1-5 and 10-12 are for everyone—those who must begin very soon to play for church
meetings might consider themselves in “shortcut mode” and skip lessons 6-9. These four lessons are for
those who can spend the time required to refine their playing “in polish mode” before beginning to serve
as an organist.
All twelve lessons are available free over the Internet as audio podcasts. There is a total of just over
four hours of instruction, with each lesson lasting between five and thirty-five minutes plus pause time.
The lessons involve listening to instruction, trying out new skills at the organ, and playing simplified
hymns. Organists with MP3 players can download the podcasts from iTunes and take the lessons at the
organ console. Those without MP3 players can hear the lessons through their computer. Those without
computers can print the lessons and study them in written form.
A packet of supporting written materials can also be downloaded free over the Internet (in Adobe pdf
format). In addition to the many useful handouts, the packet contains over twenty-five simplified hymns
that can be used in those first weeks of service.
Instructions on how to access the course can be found online at <www.organ.byu.edu>. Those who are
all ready familiar with iTunes can simply search for “new lds organist” and download it as usual.
The lesson titles are listed below. For a more detailed list of subtopics, visit <www.organ.byu.edu>.
Lesson Titles
1. Welcome to Organ Playing! (35 minutes)
2. First Steps in Pedal Playing (13 min.)
3. Playing Prelude Music that Invites the Spirit (13 min.)
4. Effective Hymn Playing—An Overview (11 min.)
5. Hymn Playing in Shortcut Mode—Playing Hymns Right Now (5 min.)
(lessons 6-9 are for those who can dedicate the time to learning to play in “polish mode”):
6. Hymn Playing in Polish Mode—Playing Single Lines in Legato Style (21 min.)
7. Hymn Playing in Polish Mode—Playing Two Independent Legato Lines (28 min.)
8. Hymn Playing in Polish Mode—Playing Three Independent Legato Lines (31 min.)
9. Hymn Playing in Polish Mode—Playing Four Independent Legato Lines (38 min.)
10. Hymn Playing—Deciding When to Tie Repeated Notes (25 min.)
11. Playing Postlude Music Appropriately (17 min.)
12. Continuing Your Organ Training (15 min.)
The New LDS Organist was produced by Dr. Don Cook of the Brigham Young University School of
Music, assisted by graduate students Jane Dye, Ruth Eldredge, and Shinji Inagi.
Copyright © 2007 by Brigham Young University. All Rights Reserved.
These materials may be freely reproduced for incidental, noncommercial church or home purposes.
For complete Copyright and Use Information, visit http://www.organ.byu.edu/copyright.html
This is not an official publication of The Church of Jesus Christ of Latter-day Saints
The New LDS Organist 3 Table of Contents─Packet
Supporting Materials for the Lessons
The supporting materials appear in the order of their first use in the lessons. For a list of all materials
that should be at your fingertips for each lesson, see the next page, “Materials Needed for Each Lesson.”
4
5
6
7
8
9
11
12
14
15
16
18
19
20
21
22
23
Materials Needed for Each Lesson
About Your Calling
The Organ Console
Internet Resources for Organists
Pedal Orientation
Resources: Easy Prelude and Postlude
Common Stop Names Listed by Family and Pipe Categories
Registration Suggestions for Prelude/Postlude Music
Hymn Registration Shortcuts
The Six Legato Organ Fingering Techniques
How to Learn Three-Part Hymns and Pieces
Three-Stage Plan for Learning Hymns or Other Four-Part Pieces
Sample from Hymns from the L.D.S. Hymnal Marked for the Organ by Carol Dean
Sample from Three-Stave Hymn Accompaniments by Robert Cundick and Don Cook
Organ Training Resources Available through Brigham Young University
Redeemer of Israel: Example of Fully-Prepared Score
Sample of a Hymn Marked in Shortcut Mode
Simplified Hymn Arrangements
These 25 simplified hymn arrangements appear in the packet in their normal hymnbook order.
Hymn
no.
3
5
19
29
30
58
67
96
98
100
103
140
142
Title
Now Let Us Rejoice
High on the Mountain Top
We Thank Thee, O God, for a Prophet
A Poor Wayfaring Man of Grief
Come, Come, Ye Saints
Come, Ye Children of the Lord
Glory to God on High
Dearest Children, God is Near You
I Need Thee Every Hour
Nearer, My God, to Thee
Precious Savior, Dear Redeemer
Did You Think to Pray?
Sweet Hour of Prayer
No. of
parts
4
3
4
3
3-4
4
3
3
3
3
3
3
3
Hymn
no.
143
163
174
177
181
193
200
201
247
274
292
294
Title
Let the Holy Spirit Guide
Lord, Dismiss Us with Thy Blessing
While of These Emblems We Partake
‘Tis Sweet to Sing the Matchless Love
Jesus of Nazareth
I Stand All Amazed
Christ the Lord Is Risen Today
Joy to the World
We Love Thy House, O God
The Iron Rod
O My Father
Love at Home
No. of
parts
4
4
3
4
3
3
4
3
4
3
4
3
The Easier Hymns
Following is a list of some of the easier hymns to play directly from the hymnbook, as given in the
official LDS Church Music website and in the BYU Independent Study organ courses, Levels 1 and 2.
It may be useful for music chairmen and priesthood leaders as organists develop their skills.
Come, Follow Me (116); Come Unto Jesus (117), Do What Is Right (237); Glory to God on High (67); God Be with
You Till We Meet Again (152); I Know My Father Lives (302); How Gentle God's Commands (125); How Great the
Wisdom and the Love (195); I Stand All Amazed (193); Keep the Commandments (303); Let the Holy Spirit Guide
(143); Love at Home (294); Now Let Us Rejoice (3); Redeemer of Israel (6); Sweet Is the Work (147); Sweet Hour of
Prayer (142); Teach Me to Walk in the Light (304); We Thank Thee, O God, for a Prophet (19).
Copyright © 2007 by Brigham Young University. All rights reserved.
The New LDS Organist 4
Materials Needed for Each Lesson
The materials that should be at your fingertips for each lesson are listed below. For a complete table of
contents for this packet, see the previous page, “Table of Contents—Packet.”
Lesson 1. Welcome to Organ Playing!
About Your Calling
The Organ Console
Hymn 5 (simplified and Hymnbook)
Hymn 100 (simplified)
Lesson 8. Hymn Playing in Polish Mode—
Playing Three Independent Legato Lines
How to Learn Three-Part Hymns and Pieces
Common Stop Names Listed by Family
Hymns 108 and 226 (Hymnbook)
Lesson 2. First Steps in Pedal Playing
Pedal Orientation
Playing Four Independent Legato Lines
Three-Stage Plan for Learning Hymns or . . .
Sample from Hymns from the L.D.S. Hymnal . . .
Sample from Three-Stave Hymn Accompaniments
Organ Training Resources Available through BYU
Hymns 3, 5, and 174 (simplified)
Hymnbook
Lesson 3. Playing Prelude Music that
Invites the Spirit
Regis. Suggestions for Prelude/Postlude
Lesson 4. Effective Hymn Playing—
An Overview
Hymns 6 and 166 (Hymnbook)
Lesson 5. Hymn Playing in Shortcut
Mode—Playing Hymns Right Now
Hymn 3 (Hymnbook)
Playing Single Lines in Legato Style
The Six Organ Fingering Techniques
Hymns 174 and 5 (simplified)
Hymn 259 (Hymnbook)
Playing Two Independent Lines
Hymns 58 and 98 (simplified)
Hymns 254, 31, 205, and 6 (Hymnbook)
Lesson 10. Hymn Playing—
Deciding When to Tie Repeated Notes
Sample of a Hymn Marked in Shortcut Mode
Sample from Hymns from the L.D.S. Hymnal . . .
Sample from Three-Stave Hymn Accomp. . . .
Hymn 19 (Hymnbook)
Lesson 11. Playing Postlude Music Appropriately
Registration Suggestions for Prelude/Postlude Music
Lesson 12. Continuing Your Organ Training
About Your Calling
Organ Training Resources
The New LDS Organist 5 About Your Calling
A list of suggested readings and resources for the LDS organist
Addresses by General Authorities
Eyring, Henry B. “Rise to Your Call.” Ensign, November 2002.
Hinckley, Gordon B. “The Quest for Excellence.” Ensign, September 1999.
Jensen, Jay E. “The Nourishing Power of Hymns.” Ensign, May 2007.
Kimball, Spencer W. The Gospel Vision of the Arts.” Ensign, July 1977.
Oaks, Dallin H. “Worship through Music.” Ensign, November 1994.
Packer, Boyd K. “The Arts and the Spirit of the Lord.” Ensign, August 1976.
Packer, Boyd K. “Reverence Invites Revelation.” Ensign, November 1991.
Official Church Communication
LDS Church Music website <www.lds.org/churchmusic>
Frequently Asked Questions <http://www.lds.org/pa/display/0,17884,6755-1,00.html>
Guidelines from the Church Handbook of Instructions
< http://www.lds.org/cm/display/0,17631,4987-1,00.html>
Quotes from Church Leaders and the scriptures about music
<http://www.lds.org/cm/quotes/0,18328,5084-1,00.html>
Other Resources
Organ Study at BYU website <www.organ.byu.edu>
Resources for LDS organists < http://www.geocities.com/ddstone48/>
LearningOrgan (Internet discussion group) < http://groups.google.com/group/LearningOrgan>
Howarth, Paul R. “Tips for Beginning Organists.” Ensign, September 2002.
The New LDS Organist 6 The Organ Console
The diagram below indicates standard positions for the various items. However, organ consoles vary
widely in their design. Some of the most common variations are as follows:
• Expression and crescendo pedals. If only one is present, it is usually an expression pedal that
affects the volume of the entire organ. Crescendo pedals are absent on many consoles.
• Great to Pedal reversible. If present, this is usually located directly to the right of the right-most
expression (or crescendo) pedal. It may also be present as a thumb piston.
• General and divisional combination pistons. Many organs have only one set of combination
pistons. If so, they will be generals, centered underneath one or both manuals. If both generals
and divisionals are present, the generals are usually located to the left underneath the manual(s).
• Stops. These may be present as drawknobs, located in stop jambs on both sides of the manuals.
• Tutti/sforzando reversible. If present, this is usually the right-most and highest thumb piston
and/or toe stud.
Stops (rocker tabs)
Swell
Tutti reversible
Power
Setter
General combination pistons
Division (local) combination
pistons
Expression pedals
Great
Cancel
Crescendo pedal
Great to pedal
reversible
Toe studs
Pedals
General “Hot Spots” of Organ-Related Web Resources
 Pipe Organs and Related Topics www.albany.edu/piporg-l
Links of topical interest www.albany.edu/piporg-l/piplinks.html
Individual Organs and Organ Tours www.albany.edu/piporg-l/organs.html
 American Guild of Organists www.agohq.org
Educational Resources https://agohq.org/store/index1.html
 Organ Study at BYU www.organ.byu.edu
Specific Areas of Interest to Organists
 BYU
Organ Study at BYU organ.byu.edu
BYU Organ Workshop http://organworkshop.byu.edu
BYU Young Musicians Summerfestival http://summerfestival.byu.edu
The New LDS Organist http://organ.byu.edu/newldsorganist
OrganTutor www.organtutor.byu.edu
Independent Study Organ Courses, Levels 1-6
College-credit courses: http://ce.byu.edu/is/site/courses/university.cfm?subject=10000066
Non-credit courses (levels 1-2 only): http://ce.byu.edu/is/site/courses/free.cfm
Belnap Hymn Studies for Organists http://creativeworks.byu.edu/Catalog/ViewItem.aspx?item=SM004
 LDS organist
Organ Training Resources http://www.organ.byu.edu/trainingresources.pdf
Discussion group for organ students and teachers http://groups.google.com/group/LearningOrgan
Resources for LDS Organists (DeeAnn Stone) www.LDSOrganists.info
Early LDS Hymns http://www.earlyldshymns.com/
1835 hymnbook online http://www.earlyldshymns.com/A_COLLECTION_OF_HYMNS.pdf
Temple Square Organs http://www.mormontabernacleorgan.webs.com/
Jackman Music www.jackmanmusic.com
Online Music for the LDS Organist www.wardorganist.com
A Blog for LDS Organists http://organlessons.blogspot.com/
 Organ Music
Organ Historical Society www.ohscatalog.com
Jackman Music www.jackmanmusic.com
Kelvin Smith online music library www.untraveledroad.com/music/music.htm
Where to Buy Organ Music www.organ.byu.edu/wheretobuy.htm
 Recordings and broadcasts
Organ Historical Society www.ohscatalog.com/recordings.html
Pipedreams Program Archives http://pipedreams.publicradio.org/listings/
JAV Recordings www.greatorgancds.com
Pro Organo www.proorgano.com
Bach Organ Works (free online recordings--Kibbie) http://www.blockmrecords.org/bach/
 The organ itself
Encyclopedia of Pipe Organ Stops www.organstops.org
Organ History http://www.concertartist.info/organhistory/
A Young Person’s Guide to the Pipe Organ (The Pipe Organ Guide)
www.agohq.org/guide/index.html
 Miscellaneous
PIPORG-L (to join the group) https://list.uiowa.edu/scripts/wa.exe?SUBED1=piporg-L&A=1
A Wiki resource on organ playing http://organplayingwiki.byu.edu
BACHorgan.com www.bachorgan.com
MIDI primer http://arts.ucsc.edu/EMS/Music/tech_background/MIDI/MIDI.html
Pedal Orientation
Organ Shoes
see <www.organ.byu.edu/ORSHOE.html>
Upper
(snug fit, flexible)
Heel
(wide, about 1 inch high)
Sole
(thin, slide easily, not wider than shoe)
Arch
(no bridge between heel and sole)
Pedal Exercises for Lesson 2
Continue by learning the pedal line of Hymn 142, “Sweet Hour of Prayer” (simplified for organ in three
parts) as described near the end of Lesson 2.
The New LDS Organist 9 Resources: Easy Prelude and Postlude
Listed in approximate order from easier to more challenging
Stone, DeeAnn. Resources for LDS Organists. Visit http://www.ldsorganists.info/.
This is an exhaustive listing of hymn preludes and free accompaniments on hymns found in the LDS hymnbook—a most
useful resource for any LDS organist. There is no indication, however, as to the level of difficulty.
Manual-Only Hymns for Organ and Transformations. Provo, UT: Brigham Young University, 2010.
Visit http://lds.org/cm/display/0,17631,4774-1,00.html (free download).
Manual-Only Hymns is designed to assist the LDS pianist in making the transition to the organ. With practice, the voice
parts of these 38 hymns can be played smoothly and with independence of line. This is enabled by eliminating the pedal
parts, by reducing the voice parts from four to three, by arranging the hymns for ease of execution, and by providing organ
fingering. Transformations is a companion volume to Manual-Only Hymns that provides easy supplemental material to
“transform” the hymns into simple preludes or postludes.
Croft, D. Kim. Nine Hymn Studies. Orem, UT: Pioneer Music Press, 1986.
Visit www.jackmanmusic.com
These simple three-part hymn settings are fingered and pedaled in legato style, and include a very easy pedal part. They
are some of the easiest available pieces to play for prelude or postlude, but not for congregational accompaniment.
Cook, Don. Easy Organ Hymn Settings. Orem, UT: Jackman Music, 1992.
This collection contains 28 three-part transcriptions of LDS hymns. The original soprano part is played by the right
hand. The left hand plays a new middle part that leaves the harmony unchanged from the original. The bass part, also not
deviating from the original notes, appears on its own pedal staff. Repeated notes are sometimes tied in the bass and middle
parts. Fingering and pedaling are provided. These transcriptions can be used for congregational hymn accompaniment, or
for prelude or postlude. They were designed to provide a bridge between the very easy Nine Hymn Studies by Kim Croft and
the four-part hymns in the Hymnbook.
Cook, Don. OrganTutor Organ 101 Workbook. Provo, UT: Brigham Young University, 1998/2007.
Visit www.organtutor.byu.edu
This organ method contains a few hymn settings and pieces that were hand-picked for the early-level LDS organist, such
as “Prelude on Deliverance” by Richard Elliott. The method, along with the computer tutorial, also serves as the basic text
for the Level 1 and 2 BYU Independent Study organ courses.
Dupré, Marcel. Seventy-Nine Chorales for the Organ, Opus 28. New York: H. W. Gray, 1932.
These one- or two-page pieces are provided with fingering and pedaling in legato style. A few are based on hymns in
the LDS hymnbook. This book is required in the Level 1 and 2 BYU Independent Study organ courses.
Manookin, Robert P. Hymn Preludes for Organ, Book One. Orem, UT: Sonos (Jackman Music), 1976.
This is the first of many volumes of LDS hymn preludes by Robert Manookin. This first volume contains two or three
pieces that are particularly useful for the early-level organist. These pieces are on the repertoire list for the BYU Independent
Study Level 1 and 2 organ courses.
(continued)
The New LDS Organist 10 Cundick, Robert and Don Cook. Three-Stave Hymn Accompaniments. Provo, UT: BYU Creative
Works Office, 2003. Search <three stave hymn> to order bound volume or for free download.
This is a collection of 62 hymns transcribed for organ on three staves. The goal: make it easier for an organist to play the
hymns well by writing the bass part on its own pedal staff and adding ties generously between repeated notes. Fingering and
pedaling must be added, and the text is not present in the score.
Belnap, Parley L. Hymn Studies for Organists. Rev. ed. Provo, UT: BYU Creative Works, 1992/2003.
Search <hymn studies for organists>.
This method book on hymn playing provides fingering and pedaling for many hymns, as well as generous instruction on
all aspects of hymn playing. The hymn text is not present in the scores.
Hymns of the Church of Jesus Christ of Latter-day Saints. Salt Lake City, UT: Church of Jesus Christ
of Latter-day Saints, 1985.
Prelude and postlude music can be played directly from the hymnbook. Variety can be introduced by applying the
registration suggestions and rearrangement of parts as suggested in Lessons 3 and 11. Later, you can learn more details on
rearranging parts through the “Music 116—Organ Techniques and Literature” podcasts. Go to iTunes and search “organ
techniques.”
Chamberlin, David. LDS Hymn Voluntaries. Visit www.chamberlinmusic.com/oom.php.
This composer is developing a massive collection of hymn preludes—one for each hymn in the hymnbook. Each
volume contains preludes of varying difficulty levels and that range in style from traditional to contemporary. New volumes
are produced periodically.
In addition to the websites given above after some listings, most of these items are also available
through the BYU Bookstore. Visit www.byubookstore.com or call 1-800-253-2578.
The New LDS Organist 11 Common Stop Names Listed by Pipe
Category and Family of Organ Tone
Most every speaking stop found on organs in LDS meetinghouses is listed under its pipe category (flue
or reed) and family of organ tone.
The New LDS Organist 12 Registration Suggestions for Prelude/Postlude Music
by Don Cook
Careful selection and proper performance of music can greatly enhance the spirit of worship. . . .
Quiet prelude and postlude music creates an atmosphere of worship that invites the Spirit into Church
meetings. The organist or pianist usually plays hymns or other appropriate music for five to ten
minutes before and after a meeting.
--Music section of the Church Handbook of Instructions, p. 289
To build a stop combination for a prelude or postlude that accomplishes the purposes described above,
first identify these important characteristics in the music. If these are not indicated in the score,
make the decision yourself:
1. MOOD: Meditative or jubilant? Use more words that describe the mood or sound more precisely
(light or heavy, clear or rich, sparkling or foundational, simple, calm, reverent, ethereal, solid,
majestic, quietly jubilant, etc.)
2. VOLUME: Overall volume level (very soft, soft, medium, etc.)
3. SOLO: Will a solo and an accompaniment be played on two separate manuals (solo and
accompaniment registration), or will both hands play on the same manual (chorus registration)?
Next, decide on the sound that you want and find it on the organ.
CHORUS REGISTRATION
For “chorus-type” registration, in which both hands play on the same manual, try the combinations
given below. Use the handout “Common Stop Names Listed by Pipe Category and Family of Organ
Tone” to find particular flutes, principals, strings, reeds, or hybrids (as indicated below) on your organ.
The following list begins with the softer stops or combinations, which are usually most effective in
enhancing the spirit of worship:
1. a soft 8’ stop alone (flute, hybrid, or string)
2. the celeste effect (use two 8’ stops [hybrid, flute, or string, with celeste], or a single celeste stop
marked “II” [like Gemshorn Celeste II 8’])
3. two soft 8’ stops (flute and hybrid, flute and string)
4. flutes 8’ and 4’
5. two soft 8’ stops and flute 4’
6. flutes 8’, 4’, and 2’ (or flute 8’, principal 4’, and flute 2’)
7. principal 8’ alone
8. principal 8’ and flute 4’, or flute 8’ and principal 4’
9. principals 8’ and 4’
10. principal 8’ plus no. 1, 3, 4, 5, or 6 above
11. principals 8’ and 4’ plus no. 1, 3, 4, 5, or 6 above
12. principals 8’, 4’, and 2’ (note the brightness of the 2’ principal)
13. Adding the chorus mixtures and/or chorus reeds probably reach beyond an appropriate volume
level for preludes and most postludes in Sacrament meeting.
The New LDS Organist 13 SOLO AND ACCOMPANIMENT REGISTRATION
For “solo and accompaniment” registration, one hand (usually the right) plays the solo part on either the
Swell or the Great, and the other hand (usually the left) plays the accompaniment on the remaining
manual. First, decide whether the sound of the solo or the accompaniment is most important to you, and
begin building that combination. Next, build the other combination, balancing it with the first. For the
accompaniment (usually played by the left hand), use one of the chorus-type registrations given above.
For the solo part (usually played by the right hand), you need only find a more prominent (louder) stop
or combination. The solo may be registered with any chorus-type registration (see above), as long as
the accompaniment is softer. Celeste effects, however, are usually most effective in the accompaniment
part. The following is a list of solo stops or combinations that are not included in the chorus
registrations given above. These usually result in a more colorful solo:
1. a single harmonic flute 8’
2. flutes 8’ and 2’ (a “gap” combination)
3. combinations of the 8’ flute and other stops from the Cornet (pronounced “cor-NAY”):
a. flutes 8’ and 2 2/3’ (an especially effective soft solo combination)
b. flutes 8’, 4’, and 2 2/3’
c. flutes 8’, 2 2/3’, and 1 3/5’ (“Sesquialtera”)
d. flutes 8’, 4’, 2 2/3’, and 1 3/5’
e. flutes 8’, 4’, 2 2/3’, 2’, and 1 3/5’ (the full Cornet)
4. string 8’ (may sound like a soft reed)
5. flute 4’
6. soft reed 8’ (Oboe, Cromorne, Clarinet, French horn, English horn, Schalmei)
7. soft reed 8’ “rounded out” with other mild 8’ and 4’ stops (flutes, hybrids, strings)
8. all the 8’ stops on the Great that blend, possibly including the Swell to Great coupler (a very
warm, “singing” solo combination)
9. a larger chorus reed 8’ (Trompette, Fagott) (more effective as a meditative solo stop when
played in the tenor range)
10. a larger chorus reed 8’ “rounded out” with other 8’ and 4’ stops
PEDAL BALANCE
Build the bass part to balance with the chorus-type combination (not the solo). Choose a soft 16’ and 8’
stop from the Pedal division (Subbass, Bourdon, Gedackt, Lieblich Gedackt). As an alternative, select a
soft 16’ Pedal stop and Swell to Pedal or Great to Pedal (whichever does not have the solo). To balance
larger manual combinations, add larger 16’ stops followed by 8’ stops in the Pedal as needed. If
manual-to-pedal couplers are used, the 8’ balance will occur automatically as manual stops are added.
Write down the combination or save it to memory for later use.
Once you have selected the combination that you want, write down the stops in pencil on the music.
You can then draw this combination by hand whenever you play that piece on that organ—if you have
time. If you will not have time to draw the stops by hand, set the combination on a combination piston
(“preset”) as described in Lesson 1 under the combination action. Be sure to double-check your preset
just before the meeting!
The New LDS Organist 14 Hymn Registration Shortcuts
Following is an easy-to-use “shortcut” plan for selecting stops in either meditative or jubilant hymns for
congregational singing. It can be used with most pipe or electronic church organs.
A FEW OF THE MOST IMPORTANT GUIDELINES
1. Support the congregation with confidence, but do not overpower
2. Let the text guide the registrational plan for the hymn
3. Begin with stops from the principal chorus, especially at the 8’ level
4. 8’ and 4’ pitches are minimum for the manual; 16’ and 8’ are minimum for the pedal
5. In meditative hymns, substitute flutes for principals at 4’ and 2’ levels as needed to reduce sharpness
6. Use changes of registration between verses and/or between verse and chorus
BASIC HYMN REGISTRATION
MEDITATIVE HYMNS: Begin with this basic combination
Great: Principals 8’ and 4’ (the stops may be called Principal, Diapason, Octave, or Prestant)
Pedal: The main 16’ stop (may be called Principal, Subbass, Bourdon, or Gedackt), and Great to Pedal
JUBILANT HYMNS: Add the 2’ principal on the Great to the meditative hymn combination, resulting in─
Great: Principals 8’ 4’ and 2’ (the 2’ stop may be called Super Octave, Fifteenth, or Doublette)
Pedal: The main 16’ stop, and Great to Pedal
FOR A SINGLE CHANGE OF REGISTRATION BETWEEN VERSES
MEDITATIVE HYMNS: Couple the Swell chorus 8’ 4’ 2’ to the Great
Begin with the Basic Hymn Registration for Meditative Hymns (above). Also, prepare the following:
Swell: flutes or principals 8’ and 4’, and flute 2’, resulting in─
an 8’ stop (Bourdon, Gedackt, Geigen Prinzipal, or Diapason)
a 4’ stop (Flute, Nachthorn, Spitzprinzipal, Octave, Prestant, or Kloppelflőte)
the available 2’ stop (Piccolo, Blockflőte, Flute à bec)
Later, between verses or between a verse and the chorus, add the Swell to Great coupler
JUBILANT HYMNS: Add the Great chorus mixture
Begin with the Basic Hymn Registration for Jubilant Hymns (see above)
Later, between verses or between a verse and the chorus, add the Great chorus mixture
(usually called Mixtur[e], and always followed by a Roman numeral)
For yet another change, you might add a chorus reed 8’ on the Great or Swell (Trumpet, Trompette,
Tromba, or Fagott)
The New LDS Organist 15 The Six Legato Organ Fingering Techniques
Direct Fingering
Redistribution of the Inner Part
Finger Crossing (circles added for emphasis only)
Finger Glissando
Finger Substitution
Thumb Glissando
The New LDS Organist 16 How to Learn Three-Part Hymns and Pieces
Stage 1: PREPARE
Step 1. SIGHT-READ. Do your best to play through the piece. This will help you identify some of
the obstacles to overcome, such as notes, rhythm, fingering, legato, or independence.
Step 2. PREPARE THE SCORE
a. If you are dealing with a HYMN:
Mark PHRASING in the text. For each verse, mark a comma or vertical line in places
where a break would help to clarify the meaning of the words. Mark a slur between
words where playing without a break might help to clarify the meaning. Even thought
the congregation may breathe at such points, you can really draw attention to the
message of the hymn in this way.
ADD ANY TIES. If necessary, add ties as needed to improve the sustained character of
the hymn. This will only be necessary in four-part hymns played directly from the
hymnbook. In all of the arrangements that came with this course, these decisions have
all ready been made, and any adjustments have been written into the music.
b. Divide the piece into SECTIONS. If you did rather well at sight-reading, the sections can be
larger (four to eight measures). If your sight-reading was far from the mark, make the
sections smaller (one to two measures). Continue with the following steps for each section.
c. Add FINGERING AND PEDALING. This is a must unless you can sight-read it very well.
Planning and learning good fingering and pedaling helps in two very important ways. First,
security—you will be able to play more accurately and with greater confidence. Second,
retention—you will be able to bring it back with only minimal effort for the rest of your life.
You do not need to mark fingering or pedaling for every note; instead, mark key places—
where a new pattern begins, a skip occurs, a crossing, substitution, glissando, or any
unnatural action must occur. Make just enough marks to lead you to play the passage the
same way every time. Mark fingering and pedaling for the whole piece or just a few
sections at a time, as you prefer.
Stage 2: LEARN EACH SECTION
Step 1. Practice ONE LINE.
Step 1a. Begin by practicing one line SLOWLY AND PERFECTLY. How slowly? Slowly
enough to stay in control. Make sure the fingering or pedaling are exactly as planned, or
adjust them as needed. Check for accuracy of notes and rhythm, for perfect legato, and for
well-defined breaks between repeated notes and at phrase breaks. Practice at that tempo
until you can play it three to five times perfectly without much conscious effort.
Step 1b. SLIGHTLY INCREASE TEMPO. How slightly? It depends, but try 2-4 beats per
minute. Practice until you can play it three to five times perfectly without much effort.
Repeat this step until you arrive at a “goal” tempo for that step.
Step 2. Practice A SECOND LINE. Go through step 1 for a second line.
(continued)
The New LDS Organist 17 Step 3. Practice TWO LINES COMBINED.
Step 3a. Begin by practicing the first and second lines SLOWLY AND PERFECTLY.
Remember: slowly enough to stay in control. Thoroughly learn the fingering or pedaling
exactly as planned, or adjust them as needed. Check notes and rhythm as before, but now
shift your attention to the perfect legato and well-defined breaks in each line. Make sure
that when a break occurs in one line, it does not cause a break in another line where
sustained tone is needed. And make sure that the sustained tone in one line does not cause a
tie or “flinch” in another line where a well-defined break should occur. If such problems
occur, using the “freezing technique” as described in Lesson 7 will save a lot of time.
Practice at that slow tempo until you can play it three to five times perfectly without much
conscious effort.
Step 3b. SLIGHTLY INCREASE TEMPO, as explained in step 1b. Repeat this step until you
arrive at a “goal” tempo for that step.
Step 4. A THIRD LINE. Repeat step 1 for a third line.
Step 5. THREE LINES COMBINED IN PAIRS. Practice step 3 for the third and second lines.
When finished, practice step 3 for the third and first lines.
Step 6. ALL THREE LINES COMBINED.
Step 6a. Begin by practicing all three lines together SLOWLY AND PERFECTLY. Always
practice slowly enough to stay in control. Keep the fingering and pedaling as planned,
watch notes and rhythm, the legato, the well-defined breaks, and independence of line. Be
quick to use the “freezing technique” whenever independence problems occur. Practice at
that slow tempo until you can play three to five times perfectly without much conscious
effort.
Step 6b. SLIGHTLY INCREASE TEMPO, as explained in step 1b. Repeat this step until you
arrive at a “goal” tempo for that step.
Step 7. NEW SECTION. Repeat steps 1-6 for a new section.
Stage 3: REVIEW AND COMBINE THE SECTIONS
Continue practicing previously learned sections each day, always practicing slowly enough to stay in
control. Each time you learn one, leave it, and learn it again, as long as you are playing with great
control, you will be driving reflex-like habits deeper into your subconscious mind. It is the
subconscious recall of those many physical “reflexes” that you will rely on as you perform hymns
and pieces. Begin combining the sections into larger and larger sections as they become easier, until
you can play the entire hymn.
As you put the sections together, devise and begin practicing a REGISTRATIONAL PLAN that reflects
the meaning of the text and the spirit of the music, and that supports and encourages the congregation.
The New LDS Organist 18 Three-Stage Plan for Learning Hymns
or Other Four-Part Pieces
First, sight-read through the piece, identifying the main obstacles.
1. PREPARE THE SCORE
• Deal with the TEXT (if you are learning a hymn). Understand the meaning, and mark phrasing
• Deal with REPEATED NOTES if you are learning a hymn directly from the hymnbook
• Divide into SECTIONS
• Add FINGERING AND PEDALING
2. LEARN EACH SECTION. Go through the practice method you need to learn it to perfection:
• the 15-step method,
• the 7-step method, or
• a method that is customized to your abilities
• For each step, be sure to:
1. Practice SLOWLY AND PERFECTLY until you can play it three to five times perfectly without
much conscious effort
2. SLIGHTLY INCREASE TEMPO, practicing until you can play it three to five times perfectly
with little effort. Repeat this step until you arrive at a “goal” tempo for that step
3. REVIEW AND COMBINE THE SECTIONS
• Continue practicing previously learned sections each day
• Always practice slowly enough to stay in control
• Learn a section, leave it, and learn it again to drive reflex-like habits deep into your subconscious
• Combine sections into larger sections as they become easier until you can play the entire hymn
THE FIFTEEN-STEP METHOD (for the more challenging pieces). Each voice is treated as a unit:
• Single voices first: soprano, alto, tenor, bass
• All two-voice combinations next: bass/tenor, bass/alto, bass/soprano, tenor/soprano, alto/soprano,
alto/tenor
• All three-voice combinations next: soprano/alto/tenor, soprano/alto/bass, soprano/tenor/bass,
alto/tenor/bass
• Finally, all four voices together: soprano/alto/tenor/bass.
THE SEVEN-STEP METHOD (for less challenging pieces). Each hand or the feet are treated as a unit:
• Single units first
1. right hand (including soprano and most of the alto voice)
2. left hand (including tenor and occasional notes from the alto voice)
3. pedal
• Two-unit combinations
4. pedal and left hand
5. pedal and right hand
6. right hand and left hand
• All three units
7. right, left, and pedal
The New LDS Organist 19 Sample from Hymns from the L.D.S.
Hymnal Marked for the Organ
by Carol Dean
Most of the hymns in the LDS hymnbook are marked in this manner. Contact Carol Dean at
[email protected]
The New LDS Organist 20 Sample from Three-Stave Hymn
Accompaniments
by Robert Cundick and Don Cook
Louis M. Gottschalk
hymn no. 170
Aimed at ease in performance, this four-part version offers a separate pedal staff and a good treatment
for the repeated notes. Fingering, pedaling, and phrasing must be added as has been done below.
Organ Training Resources Available
through Brigham Young University
MAIN WEBSITE
The Organ Study at BYU Website—Visit http://organ.byu.edu and then click LDS Organists and Teachers
BOOKS AND SOFTWARE
Hymn Studies for Organists (Belnap). http://creativeworks.byu.edu/catalog/ViewItem.aspx?item=SM004 ($15.95 + shipping)
Three-Stave Hymn Accompaniments (Cundick). http://creativeworks.byu.edu/Catalog/ViewItem.aspx?item=SM003 ($10 +
shipping; free downloads http://www.organ.byu.edu/3StaveHymns/index.htm)
Manual-Only Hymns for Organ, and Transformations. http://lds.org/cm/display/0,17631,4774-1,00.html (free downloads)
OrganTutor (Cook) (visit http://organtutor.byu.edu and then follow the specific links)
OrganTutor Organ 101 Complete
Computer tutorial on CD-ROM (for PC and Mac) and Workbook ($69.50 + shipping)
Computer tutorial and printable Workbook (pdf files) on Internet ($20-$30 per year)
Computer tutorial only (no Workbook)
On CD-ROM (for PC) ($50 + shipping)
On Internet ($25 per year; $15 per 6 months)
Workbook only (no computer tutorial)
Printed ($19.50 + shipping)
Printable on Internet ($6)
Organ 101 Introduction (free selected lessons)
On CD-ROM (for PC) or on Internet
ORGAN COURSES THROUGH BYU INDEPENDENT STUDY AND THE INTERNET
Visit http://organ.byu.edu and then click BYU Independent Study Students and follow the specific links.
College-credit courses:
Music 399R Sections (Levels) 1-6 http://ce.byu.edu/is/site/courses/university.cfm?subject=10000066
Noncredit courses (free or low cost) http://ce.byu.edu/is/site/courses/free.cfm
Organ 71—Beginning organ for pianists with little or no previous formal organ training, or who need help in applying what
they have learned in their organ playing.
 Certification track (a $40 non-credit version of Music 399R Level 1 that offers a certificate)
 Self-study track (a free non-credit version of Music 399R Level 1 that does not offer a certificate)
Organ 72—Review of basics for those with organ training, but who would benefit from a review of basic legato organ
technique, repertoire, hymn playing, and registration. Should be able to sight-read single-line melodies.
 Certification track (a $40 non-credit version of Music 399R Level 2 that offers a certificate)
 Self-study track (a free non-credit version of Music 399R Level 2 that does not offer a certificate)
The New LDS Organist (A free “quickstart” organ course in 12 podcasts & packet) Visit http://organ.byu.edu/newldsorganist
Creative Hymn Playing Techniques (Music 116R podcasts—audio lessons) visit http://organ.byu.edu/116podcasts.htm
ORGAN WORKSHOPS
The BYU Organ Workshop (for adults, first Tuesday thru Friday of August annually) — http://organworkshop.byu.edu
The BYU Young Musicians SummerFestival (for ages 14-18, annually in mid-June) — http://summerfestival.byu.edu
The New LDS Organist 22 Redeemer of Israel
Example of Fully-Prepared Score
The following have
been added into the
score:
Text
• Keywords underlined
• Phrasing (given with
slurs, breath marks [V]
and verse numbers in the
text)
Plan for treatment of
repeated notes
(ties only)
Fingering and
pedaling
(note changes in the last
two measures to allow for
right-hand stop changing
between verses)
Music—Instructions
for the introduction
• Modified “boundaries”
(marked with double
diagonal lines)
• Idea (soprano and alto
duet, then accompanied)
• Registration (trumpet
duet alone, then with flue
accompaniment)
Registrational plan
• Combination listed for
pistons 1 and 2
• Manual indications
(given at the beginning of
each verse)
• Stop change indications
(given at the end of each
verse)
The New LDS Organist 23 Sample of a Hymn Marked
in Shortcut Mode
3
Now Let Us Rejoice
Simplified for organ in four parts
q=100-120
Cheerfully
Arranged by Don Cook
3
1
## 3
& 4 œœ .. œ œ˙ . œ
1.Now
2.We'll
3.In
let
us
love one
faith we'll
? # # 3 œœ . œ œ˙ . œ
4
1
5
##
5
2
2
œ
? # # œ˙ . œ
œ
lon - ger as
cease
to
do
guide thru these
1
## œ
&
˙. œ œ
10
3
sound - ing to
god - ly are
scourg - es and
? # # œ˙ . œ œ
œ œ
˙.
œ
4
1
œ˙ . œ
œ
œ˙ œ
.
œ
strang - ers on
e - vil and
last days of
œ 2
˙. œ
5
3
œ
us and each
fear - ing and
har - vest are
œ˙ .
œ
œ
the
and
the
œ˙ œ
.
œ
œ
4
2
œœ
œ
˙. œ
5
3
re - joice in
an - oth - er
re - ly
on
3
œ˙ œ
.
&
4
2
3
1
œœ
œ œ
˙.
œ
earth need we
ev - er
be
trou - ble and
œ
2
œ
na - tion, And
trem - ble, We'll
o - ver, We'll
œ˙
œ
œ
œœ
1
4
œ
˙
œ
œ˙
œ
5
1
œœ
sal - va - tion.
dis - sem - ble,
Je - ho - vah
œ˙ . œ
œœ
œ
˙
œ
day
of
nev - er
arm
of
œ
5
3
2
œ
3
1
1
No
But
To
œœ
3
4
2
˙˙
œœ . œ œ˙ . œ
œ
˙
˙
œ . œ œ˙3 œ
.
œ
œ
roam. Good
one.
And
gloom, And
1
tid - ings are
when the un af - ter the
2
1
j
œ . œ œ .. œ ˙˙
œ
˙
3
5
1
short
watch
rise
˙˙
.
-
ly the hour
for the day
with the just
œ
1
˙
˙
2
2
œ. œ
of
re when the
when the
1
2
œœ
œ
&
15
##
œ
demp - tion will
Sav - ior will
Sav - ior doth
œœ
? ##
˙
##
œ
œ
˙
œ
? # # œ˙
œ
&
20
&
25
##
1
earth
earth
earth
3
## œ .
&
˙
29
Je
Je
Christ
? # # ˙˙ .
3
-
œœ
˙˙ .
# œ . œ œ˙ . œ .
2
œ˙ œ
.
And
And
And
none will
none will
they will
œ œ
˙.
œœ
1
4
2
œ
will
will
will
ap
ap
ap
œ
˙.
œ
mo
mo
be
-
œ
œ˙
.
œ
the
the
the
œ
œ˙
.
œ
œ
j
œ œœ ..
œ ˙˙
œ.
will say
will say
his peo
to
to
ple
œ
˙
˙
2
2
-
1
2
œ
#œ . œ
j
œ ˙˙ .
#œ . œ
the
the
the
Saints
Saints
Saints
3
1
œœ
œœ
œ
œ
œ
˙.
5
2
as
as
as
1
4
2
j
œ ˙
˙.
œœ œœ
˙˙
lest them from morn un - til
lest them from morn un - til
crown'd with the
an - gels of
pear
pear
pear
sus
sus
and
was prom - ised
was prom - ised
was prom - ised
3
œ
œ
-
that
that
that
œ˙ .
œ
3
1
5
1
all
all
all
# œ . œ œ˙ . œ .
5
2
œœ
œ
? # # œ˙ .
˙˙
5
1
œ˙ . œ
When
When
Then
˙
˙.
œ
œ
come,
come,
come.
œ
œ
giv - en,
giv - en,
giv - en,
4
1
˙
˙
œœ
œœ
2
Now Let Us Rejoice
5
2
4
1
œ œ œ
˙.
2
œ
Gar - den
Gar - den
Gar - den
œ˙ .
œ œ
all
all
will
œ
3
1
œœ
3
œ
of
of
of
œ
4
1
œœ
Is - rael, "Come
Is - rael, "Come
ev - er
be
œœ
˙
ev'n,
ev'n,
heav'n,
œ
œ
œ
˙
˙
œ
˙
will
will
will
3
1
œœ . œ
And
And
And
œ. œ
œ
1
2
œ
E - den,
E - den,
E - den,
œ˙
œ
5
2
˙
˙
Home."
Home."
one.
˙
˙
be
be
be
œ
and
and
and
œ
œœ
1
4
Œ
Œ
Œ
2
5
High on the Mountain Top
Simplified for organ in three parts
h=56-72
Resolutely
#
œ
œ œ œ œ
˙. œ
œ œ œ œ
œ
?# C œ
œ œ œ œ
w
˙ . œ2
w
œ œ œ œ
w
&
C
2
1
˙. œ
œ œ œ #œ
˙˙ .. œœ
œ œ œ œ
w
2
3
A
ban - ner is un - furled.
1.High on the moun - tain top
2.For
God re - mem - bers still His prom -ise made of
old
3.His houseshall there be reared, His glo - ry to dis - play,
4.For there we shall be taught The law that will go forth,
2
&
2
#
˙
3
2
˙
up;
It
hill
Truth's
heard
In
fraught, To
˙
1
?#
˙w
4
# œ œ œ #œ
&
peace - ful
tract
the
serve
the
ways we'll
œ œ œ
œ
?#
Ó ˙
5
3
5
1
œ
2
3
1
2
1
5
œ
œ
œ
˙.
œ
w
œ
œ
œ
˙˙ ..
˙.
œ5
˙
waves
stan dis go 2
land,
gaze
Lord,
tread,
˙.
˙.
1
œ
to
all the
world.
dard would un - fold!
tant lands to
say:
vern all the
earth.
1
3
On
Zi Of
all
O - bey
And save
œ
œ
4
4
œ
œ
1
5
˙
on's
the
his
our
œ œ œ
wœ
1
In
Her
We'll
For -
-
Ye
na - tions, now look
That he on Zi - on's
And peo - ple shall be
With truth and wis -dom
3
4
œ
œ œ œ
5
Des - er
light should
now
go
ev - er
œ œ3 œ
œ
w
œ œ œœ
˙ ˙
œœ # œœ œ˙ œ
˙ œ œ
˙ ˙
mount
world
truth
selves
4
2
be - hold it
in
lat - ter
and learn his
with
all our
˙.
œ
et's
there
up
there
sweet,
at and
his
˙.
˙.
œ
Œ
˙.
1
stand!
days.
word.
dead.
˙.
˙.
2
2
19
We Thank Thee, O God, for a Prophet
h =76-92
Resolutely
## 4
& 4 œ . œ œ˙
œ . œ œ . œ œœ .. œœ
? # # 44 œœ . œ œ˙
œ . œ ˙œ . œ œ . œ
3
1
1
1.We
2.When
3.We'll
&
##
3
1
˙˙ ..
3
1
˙˙
thank thee, O God, for a
proph - et To
dark clouds of trou - ble hand o'er
us And
sing of his good - ness and mer - cy. We'll
2
4
4
}54 42
œ œ . œ œœ œœ .. œœ œœ œœ .. œœ
Arranged by Ruth Eldredge and Don Cook
5
3
3
1
œ . œ œ˙
1
˙
˙
4
2
4
2
3
1
guide us in these lat - ter
threat - en our peace to de praise him by day and by
2
œœ 4
˙œ œ
˙
œ
.
œ
œ œ
.œ œ œ
1
2
5
3
œ . œ œ . œ œ . œœ ˙˙ œœ œœ .. œœ
œœ œœ .. œœ œœ œœ .. œœ
1
œ . œ œ . œ 2 œœ .. œ ˙ œ œ
˙
˙ œ œ
˙
˙
1
2
1
2
4
2
3
1
5
3
days. We
thank the for send - ing the gos - pel To
light - en our minds with its
stroy, There is hope smil -ing bright - ly be - fore us, And we know that de - liv' - rance is
night, Re - joice in his glo - ri - ous gos - pel, And
bask in its life - giv - ing
? ## ˙ .
˙.
8
&
##
˙˙ ..
rays.
nigh.
light.
? # # ˙˙ ..
12
&
##
œœ . œ œ˙
œœ
œ
œ
œœ
˙˙ .
5
1
2
1
œ . œ œœ œœ .. œ
œ
œ. œ
3
1
4
2
5
3
4
2
˙˙ œ
œ . œ œœ
2
1
We thank thee for ev - e - ry bleses - ing Be We doubt not the Lord nor his good-ness. We've
on
Thus
to e - ter - nal per - fec - tion The
2
1
˙˙ .. œœ
3
1
2
4
œ
˙
˙ 2 œœ
˙ œ
œ œ . œ œœ œœ .. œœ
œ œ. œ
5
1
4
2
3
1
5
3
˙˙
œ˙ œ
1
}54 42
œœ .. œœ œœ œœ .. œœ
4
2
4
2
stowed by thy boun - te - ous
proved him in days that are
hon - est and faith - ful will
2
œœ . œ ˙œ
4
œ . œ ˙˙
}54 42 31 41
œ
˙˙ œ
œ . œ œœ œ .. œœ œœ œœ .. œœ
˙.
˙ 2 œœ 4 œ ˙
˙ œ œœ . ˙
˙˙ ..
4
2
2
1
hand. We feel it
a plea -sure to
serve thee, And
past. The wick - ed who fight a - gainst Zi - on Will
go, While they who re - ject this glad mes - sage Shall
2
? # # ˙ . œœ
˙.
˙
˙
2
3
4
2
love to o - bey thy com - mand.
sure - ly be smit - ten at
last.
ne - ver such hap - pi - ness know.
œ œ
˙
* RH and LH
are played on
different manuals
with similar
registration
simplified for organ in three parts
Peacefully
e = 96-112
Arranged by Shinji Inagi
3
4
2
j
j 1 3
bb b b 6
œ
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œ
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&
8 œ œ œ œœ œ œœ œ œœ
2
3 2
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œ
2 1
j
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? b b b 68
b
œ
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J
Ped
j 4 œ œ2
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RH
b
& b bb
3
poor
when
spied
1
3
2
4
2
1
2
1.A
2.Once,
3.I
LH
5
1
2
1
2
1
2
4
2
1
2
1
2
1
4
3
2
3
to
me
the
jœ
4
œ
œ
œ
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œ.
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j
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œ. œ.
3
2
2
3
4
ask his name,
part a - gain.
suf - f'rer up;
1
3
j 1 3 2
œ œ œ œ
œ.
2
œ
4
j
œ œ
2
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3
or whence he came; Yet
gel's
por - tion then, For
he drained my cup, Dipped
j 2 1
œ œœ œ œ
œ. œ.
1
3
swer nay. I
it, brake, And
ring on. I
2 3
2
3
j
œ œœ œ œ
5
Where - to he went,
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all
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in
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toil nor la - bor fear;
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think our lot is
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the place which God for us pre - pared,
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well!
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Come, Ye Children of the Lord
q=88-104
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q»88-104
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Dearest Children, God is Near You
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Let him teach
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Light our minds with
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Text by Penelope Moody Allen, b. 1939. © 1985 LDS.
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what is true.
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Lord, Dismiss Us with Thy Blessing
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1.Lord, dis - miss us with thybless - ing;
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While of These Emblems We Partake
174
Fervently
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"While of These Emblems We Partake"
Original music by Alexander Schreiner and original lyrics by John Nicholson
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181
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œ œ ww
I Stand All Amazed
* RH and LH are played on
different manuals.
Thoughtfully
q = 66-84
bb b b 3 2
4 œœ
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1.I
2.I
3.I
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5
4
j
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3J
5
2
˙.
3
œ
2
1
œœ
3
I
trem - ble
to
know
That he should ex - tend
No, no,
I
will
praise
‰
œœ
˙.
j 3 n œ5 4
œœ œœ œ œœ
3J
1
2
n œœ œœ œœ
That for me, a
Suf - fi - cient to
Un - til
at the
‰ ˙.
of - fers me,
throne di - vine
pay the debt!
4
5
4
3
œœ . n œ b œœ .
.
3
ful - ly he
bel - lious and
vo - tion can
3
œ˙ . œ œ
5
3
œœ
œœ
4
1
œœ
3
2
sin - ner, he
suf - fered, he
own, to
re - deem, and
to
glo - ri - fied
throne
I
kneel
˙.
˙.
œ.
.
œœ .. œœ œœ .
3
2
3
me he was
love un - to
dore at the
5
2
2
œ
2
3
1
prof - fers me.
pround as mine,
I
for - get?
˙.
œœ
œ.
3
˙.
2
1
œ˙ . œ œ
4
5
that for
his great
and
a -
˙.
3
2
œœ . œ œœ ..
2
3
œ
4
1
4
grace that so
soul so
re love, and de -
˙.
2
2
love Je - sus
scend from his
bleed - ing
to
œ˙ œ œ
œ
3
Con - fused at the
To
res - cue
a
Such mer - cy, such
2
œ
4
3
˙.
j
œ œ
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2J
‰
3
˙.
2
œ˙ . œ
5
3
4
the
stand all
a - mazed at
he would de mar - vel that
hands pierced and
think of his
2
193
2
4
5
1
2
cru - ci - filed,
such as I,
mer - cy seat,
œ
œ.
œœ .. n œœ b ˙˙
3
2
1
4
2
5
bled and died.
jus - ti - fy.
at his feet.
˙.
I Stand All Amazed
b
& b b b œ˙
5
20
œ
3
Oh,
4
it
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b b ˙.
23
&
bbbb
die
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b ˙.
is
œ.
œ.
4
œ œ
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5
won -
der - ful
œ
œ
5
3
3
that
œ
œ
4
4
œ
œ
5
3
he
should
2
2
care
for me!
4
3
5
Oh,
˙.
œœ
4
2
œœ œœ
3
1
for me
œœ
3
2
it
is
œ ˙
˙œ ..
2
1
3
4
won - derful,
-
œ
˙
œ. œ œ
œ
œ
5
1
4 3
2
won - derful
-
œ
˙
˙.
˙.
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4
to
me!
3
2
3
œœ
2
3
E - nough to
˙.
œ œ œ
œ œ œ
3
4
5
œœ ..
3
˙.
œœ .. œœ ˙˙
4
5
1
œ
œ
4
˙.
Christ the Lord Is Risen Today
With exultation
& 44
œœ
œ
œ
œ˙
3
1
& œ˙
œ
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œ
? œ
œ
4
œ
4
2
? œ
w
5
1
&œ
Sing
Dark
Where
?œ
œ
3
œ
5
1
œ
œ
œ
œ
1
joys and
ag
o
died our
tri - umphs
ny
is
souls
to
1
œ
heav'ns, and
veils
the
vic
to
œ
2
œ . œj ˙
˙
˙
5
Al
œ
œ œ
w
˙
˙
3
1
high,
o'er,
save,
Al
˙
˙
œ œ ˙
ia!
œœ . œ œ œ œœ œ œœ œ œœ œœ ˙
J
5
1
earth re - ply,
earth no more,
ry, O grave?
lu
œ
1
2
2
4
œ
4
3
1
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2
le
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w
œ
1
4
le
lu
œ
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˙
ia!
j
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1
œœ . œ œ œ œœ # œ œœ œ œœ # œœ ˙
J
j
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˙
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œ
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œ
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5 4
2 1
5 4
1
Al
3
1
say,
won,
sting?
œ ˙
œ ˙
1
2
ye
ness
thy
4
2
an - gels
vic
t'ry
now thy
3
}52
œ œœ œ œœ
3
2
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4
2
& œœ . œ # œ œœ œœ n œ
J
3
1
Raise your
Je
sus'
Once he
13
˙
œ
2
4 5
œ
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œ
3
} 42
œœ . œ œ œ œœ œ œœ œ œœ œœ ˙
J
5
2 2
3
1
ris'n to - day,
work is
done,
glo rious King,
˙
˙
1
Sons
of
men and
Fought the fight, the
Where, O death, is
9
}
œ˙ œ œ˙
1.Christ the Lord is
2.Love's re deem ing
3.Lives a
gain our
3
3
1
5
2
3
œ˙ œ
? 44
5
q» 96-108
1
200
1
2
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5
1
4
2
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˙
1
3
5
1
3
4
2
5
3
2
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le
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1
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4
1
5
4
1
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j
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ia!
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Al
˙
w
3
4 5 4
1
2 1
5
2
lu
ia!
œœ ˙
˙
˙˙
le
œ
201
Joy to the World
Jubilantly q»76 - 96
# # 2 œ5
& 4
1.Joy
2.Re 3.No
4.Re -
œ.
to
joice!
more
joice!
œ.
? # # 42 œ˙
# # œ4 .
&
ceive
songs
fest
spreads
? ## œ .
˙
5
œ.
œ
œ.
her King!
em - ploy,
the ground;
a - broad
j 4
œ ˙˙
&
##
sing,
joy,
found,
God,
œ
œ œ œj
-
Saints,
peat,
as,
ev -
3
œ
œ
? ## œ .
œ˙ .
œ œ œ œ
come;
reigns,
grow,
High,
œ œ
œ5
J
er
Let
And
Nor
While
œ.
3
'ry
and
and
that
-
œ
J
earth
Saints
thorns
Is
˙
˙
-
re their
in rael
3
œ œ œ œ
ev
Let
While fields
He'll come
Like stars
œ.
3
˙˙
heart
floods,
make
glit -
j
œ‰ œ˙ œ œ œ
˙œ .
1
3
œ œ
-
œ
pre rocks,
the
- ter
œ
œ œ
3
œ œ œ œ œ œ œ
3
sing,
joy,
found,
God,
And
Re
Far
And
-
Saints
peat
as
ev -
an - gels
and
the sound - ing
the curse was
wor - ship
er
œ œ œ œ œ œœ . œ œ œœ œ œœ . œ œ œœ œ
‰ J
Œ
J
2
4
3
And
Re
Far
And
1
œ
˙
2
an - gels
And Saints and
Re - peat the sound-ing
Far
the curse was
as
wor - ship
And
ev - er
room,
plains
flow
sky,
j
œ
2
œ.
œ œ œ œ œ œ.
3
œ.
œ
2
? # # œ˙ œ œ œ ˙œ . œ œ œ
16
2
Lord
is
Je - sus
sor - row
the
Most
j
œ
œ
J
œœ ..
3
3
## œ œ
œ œ œ. œ œ œ
&
3
the
when
and
in
œœ ..
11
him
pare
and
hills,
bless - ings
the
in
œ
3
1
˙
œ
J
j
œ
1
the world,
Re - joice
will
sin
Re - joice
1
3
6
œ
4
œ
J
3
œ.
and
Saints
re - peat
far
as
and
ev
-
j
œ
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4
-
and
the
the
er
œ œ œ
œ
J
œ
œ
œ
˙
œ œ
3
an - gels
sound - ing
curse was
wor - ship
˙
sing.
joy.
found.
God.
˙˙
We Love Thy House, O God
247
Reverently
&c
1
q = 72-88
2
œ œ
1.We
2.It
3.We
œw œ œ œ
3
4
5
love thy house, O
is
the house of
love the word of
? c œœ œ
œ˙ œ ˙˙
&
1
5
The
And
Of
?
3
œœ œ œœ
1
2
4
œœ
5
2
5
4
1
God,
prayer,
life,
˙˙ ..
4
5
œœ œ˙ œ
3
˙˙ .
.
3
2
3
1
˙˙ .
.
joy
of thine a - bode
thou,
O Lord, art
there,
com - fort
in
the
strife,
˙w
œ b 3œ
˙˙ ..
4
œ
Œ
œ˙
Arranged by Shinji Inagi and Don Cook
œ œ œ
œ
4
5
2
1
3
œ
œ
œ˙
5
3
4
2
œœ
All
Thy
Of
œœ1
œ
5
1
4
2
2
œ˙
œ
earth - ly
cho - sen
joys that
œ˙ œ3
dwells.
meet,
peace,
˙˙ .
.
5
3
1
œœ œœ œ œ œ
œ œ œ
3
˙˙ ..
3
2
hon - or
ser - vants
tells
of
3
5
œœ
1
1
Where - in thine
Where - in
thy
The
word that
3
2
2
joy ex
flock to
nev - er
-
œ œ œ
˙
3
4
Original music by Leroy J. Robertson, 1896-1971. © 1948 LDS.
This arrangement © 2007 by Brigham Young University.
Used by permission.
˙.
cels.
greet.
cease.
˙˙ ..
5
The Iron Rod
274
Boldly
#
& # 43
? ## 3
4
&
##
? ##
q = 80-96
1
œ
1.To
2.While
3.And
œœ
œ. œ œ œ
œ œ
˙
˙œ .. œ œ œ
œ œ
˙˙
4
Ne - phi, seer of
old - en
time,
on
our jour - ney here be - low,
when temp - ta - tion's pow'r is
nigh,
5
˙
œ. œ œ œ œ œ
œ
2
Where - in
Through
mists
Up
on
5
œ. œ œ œ œ œ
˙
œ
œœ
˙˙
4
1
5
## c 4 2
2
œ
œ
œ
œ
.
&
œ œ œ œ.
œ. œ
J
Hold
to
2
4
the rod,
the
i
-
ron
rod;
œ œ œ
œœ
œ œ œ
˙
œ
œ œ œ œ
˙
œ œ œ œ
˙
œ
˙˙ Œ c
Œ
&
##
œ
The
? # # œœ
1
2
i - ron
rod
is the word
of
œœ œœ œ˙ œ œ œ œ œ
˙
2
4
5
4
2
Œ c
1
œœ
2
j
œ
œ
2
œ5
œ
4
œ
˙.
4
strong, and bright, and
4
1
˙
˙
1
shown an i - ron
rod.
per - il ev - 'ry
hour.
heav - en's aid im - plore.
5
4
.
œ
œ
œ
œ
œ œ œ œ œ œ œ
J
2
God,
pow'r,
o'er,
5
1
1
˙
1
4
Was
In
And
'Tis
œ
œ
2
1
2
5
4
j 2
j
? # # c œ˙ œ . œ œ˙ . œ œ œ œ œ œ˙. œ
˙
2
œ
A
vi - sion came from
Be - neath temp - ta - tion's
Our
path - way cloud - ed
4
the ho - ly word sub - lime
of dark - ness we must
go,
the rod we can re - ly,
4
4
œ
4
God; 'Twill
œ
˙
1
œ
˙
œ
œ
1
2
˙˙ ..
2
œ œ œ œ œ
1
safe - ly
1
j
œ˙ . œ œ œ
˙
2
1
4
guide us
œ œ
˙
2
true.
1
˙.
through.
˙˙ ..
O My Father
292
Fervently
# 3
& 4 œ
œ
3
1
q = 42-56
4
3
3
1.O
2.For
3.I
4.When
5
œ
œ
1
œ œ
œ 2œ
my
a
had
I
? # 43 œ
œ
&
# œ œ
œ
œ œ œ
3
5
œ
œ
˙
˙
thou
glo call
frail
when
And
But,
Fa
1
3
2
3
˙
˙.
œ
1
2
3
œ œœ œœ
œœ .
.
? # œœ œ œ
˙
˙.
œ
&
3
And
Of
Was
In
5
œ œ
œ 2œ
-
a - gain
be - hold
my
for - mer friends
knew
re - stored,
I
your
roy - al courts
3
3
2
1
œ
the
hast
thy
I
˙˙ ..
j
œ
œ
5
1
œ.
œ.
high
and
placed
me
Spir - it
lay
this
˙˙
1
5
œ
œ
1
5
œ
œ
œ œ œ
œ 2œ œ
1
3
shall
I
re - gain
with - held
the
rec
un - til
the
key
ther,
Moth - er,
may
˙.
˙.
5
j
œœ œœ
#
4
1
œœ œœ
3
that
dwell - est
In
rious
pur - pose Thou
thee
Fa - ther, Thru
ex - is - tense, When
3
œœ
3
œœ
4
2
1
4
3
1
place,
earth
high,
by,
? # œœ œ œ
œœ
(5)-4
glo - rious
on
here
from
on
mor - tal
2
4
1
œ œ œ
œ 2 œ 1œ
1
˙.
˙.
4
1
3
3
Fa - ther,
wise
and
learned
to
leave
this
5
4
œœ œœ
3
thy
and
not
on
œ œ
3
3
1
˙˙
face?
birth;
why.
high?
˙
˙.
2
-
œ
œ
3
In
Yet
In
Then,
œ
5
3
3
œœ
thy
pres ol - lec of
knowl I
meet
5-4
2
4
1
4
œ œœ
œ 1
2
œœ
ence
tion
edge
you
˙˙
5
5
1
œ.
œ.
j
œ
œ
thy
ho - ly
oft - times
a
the
heav'ns
are
at
length, when
˙˙
O My Father
&
#
1
2
3
5
œ
œœ 1œœ œ
2
4
œ
œ
2
œ
œ
œœ
# œ.
& œ.
5
1
j
œ
œ
œ œœ 1œœ œ
2
2
3
5
œ
œ œœ œ
œœ .
.
œ
˙
˙.
4
œ
œ
2
˙.
˙.
j
œœ œœ œ œœ
œ
˙
˙
œ œ 4œ
˙
˙.
-
œ
œ
hood,
dered
nal
tion
1
2
3
2
4
œ
œœ œœ 1 œ
3
Was
From
Tells
Let
I
a
me
me
5
1
œœ ..
nur more
I've
come
œ.
˙.
3
3
3
4
2
œœ œœ
J
3
j
œœ
tured near
thy
ex - alt - ed
a moth - er
with
and dwell
3
j
œ œ œ œ
1
In
And
Truth
With
5
4
2
4
œ œœ œœ
œ2 1
3
œ
5
5
1
3
3
2
5
3
2
3
first
pri - me - val child
felt
that I
had wan
e - ter
rea - son; truth
mu - tual ap - pro - ba
? # ˙˙ ..
4
1
Did
my
spir - it once
re - side?
Whis - pered, "You're
a strang - er
here,"
No,
the thought makes rea - son
stare!
All
you
sent
me forth
to
do,
˙
˙.
1
5
3
hab - i - ta - tion,
se - cret some - thing
par - ents
sin - gle?
I've
com - plet - ed
?#
3
1
˙
3
side?
sphere.
there.
you.
˙
˙
my
I
is
your
Love at Home
294
Fervently
#
& 44
q=
&
#
œ
œ œ
w
2
œ.
3
There
Hate
All
œ
œ
œ œ ˙
4
5
3
beau - ty
cot - tage
heav - en
œ
1
œ˙ œ ˙
˙
4
5
œ
3
is
joy
in
and en - vy
the world is
œ
ev - 'ry sound
ne'er an - noy
filled with love
œw œ ˙
œ
œ
œ
œ.
? # œw
œ
&
#
2
œ
4
# œ3 .
&
13
œ
5
œ
J
œ
œ
œ
3
? # œ.
w
j
œ œ
œ
j
œ ˙
here
a -bide,
neath ourfeet;
brook - let by;
œ.
w
3
Time
doth soft - ly,
Mak - ing life
a
Oh,
there's One who
3
5
3
Peace and plen - ty
Ros - es bloom be Sweet - er sings the
3
3
œ
2
j
œ ˙
œ ˙
sweet - ly glide
bliss com-plete
smiles on high
wœ œ ˙
5
3
j
œ
œ œ
1
2
œ.
When
When
When
there's love
there's love
there's love
2
œ
1
œ
When there's love
When there's love
When there's love
œ
w
œ
1
œ
œ
œw
œ
œ
3
1
œ
4
1
œ
œ
5
œ
w
1
œ
3
œ
˙.
˙.
Œ
Œ
home.
home.
home.
œ.
2
j˙
œ
ev - 'ry side.
gar - den sweet,
az - ure sky.
3
j
œw. œ ˙
5
œ
J
œ.
4
Œ
3
2
œ
When there's love
When there's love
When there's love
˙.
5
at
at
at
œ
œ
4
Œ
Œ
home;
home;
home;
Smil - ing sweet on
All the earth's a
Bright - er beams the
2
˙˙ ..
at
at
at
1
œ
3
Œ
4
œ
J
œ.
5
˙.
5
j
œ œ 4œ
œ.
w
2
œ ˙
2
œ
? # œ.
w
3
all
a - round
there is joy
smiles a - bove
˙
4
œ
J
j 1
œ œ
3
9
œ
1
1.There is
2.In
the
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Love at Home
17
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Love
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Love
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doth soft - ly,
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home;
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4
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When there's love
When there's love
When there's love
4
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3
at
at
at
home.
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1
1
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The New LDS Organist Packet - Organ Study at BYU

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