How to play repeated notes in Romantic and modern organ music? Many people don't pay attention to that and simply play them as they want. It turns out that in organ playing, repeated notes require careful calculation because in larger acoustics and in music with many voices in general, the sound tend to loose clarity and mix with other voices very easily.
The standard system that is being used today was largely promoted by the Frenchman Marcel Dupre's organ playing method. It says you have to shorten the notes by the unit value. A unit value he called the most commonly seen rhythmical value in the piece. Today's sight-reading piece is Prelude in D Minor by Fortunat Pintarić (1798-1867), a Croatian organist and composer. Right from the start (system 1) you can see the repeated notes in the left and in the right hand parts. In order to find out the exact length of the repeated notes, we have to seek out the unit value. It seems like it is an eighth note. So when you shorten the quarter notes in the first system, play an eighth note and make an eighth note rest. When the repeated note is the same as the unit value, shorten it by a half. Here's the score for playing. Although the tempo is Maestoso (solemnly), for practice purposes, play rather slow - as slow as it is comfortable. If you can't sight-read all parts together accurately, play separate parts. Since this is a piece in Romantic style, every note should be played legato (except when notated otherwise and except for repeated notes, obviously). PS A common objection to these sight-reading exercises from organists is this: for some people they are too difficult, for some - too easy. That's not a problem - it's a scale issue. We don't need to change exercises, we can change the scaling: For beginners: play separate parts For intermediates: play two part combinations For advanced: play everything together For experts: transpose the piece to one or more keys For everybody: increase or decrease the tempo to match your skill level Post your time to comments.
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Imagine, jų press some note in the pedals and while holding it, play some suitable music with your hands. That's called a pedal point - one of the ways to create tention in the piece (dominant pedal point, if there is the 5th scale degree in the pedals) or a sense of stability (tonic pedal point, if there is the 1st scale degree in the pedals).
Today's sight-reading piece is Toccata Sexta from Partitura in cymbalo et organo, Op.2 Book 2 (1664) by Sebastian Anton Scherer (1631-1712), a South German Baroque composer and organist. In this toccata, Scherer makes heavy use of pedal point and includes much imitative counterpoint as well as free writing. The pedal points dominate this piece. In fact, the longest is towards the end, on C - 27 measures long! There are only 7 pedal points in the entire toccata: on F, C, G, A, D, F, and C. Here is the score for printing (p. 89). Choose a slow comfortable tempo and use articulate legato touch, when you sight-read this toccata today. Play separate hand parts, if both hands together are too complex. Tip: How about applying the same pedal point technique in improvisation? Choose 7 pitches and play something interesting (it doesn't have to be polyphonic) based on the key of that pitch. What's the purpose of the introduction in a large-scale musical work? The role of the introduction is to establish the key and prepare for the main thematic material. Usually this is done by ending an introduction on the dominant chord in the main key which triggers the main material non-stop.
Very often, the introduction has a different character, meter, and tempo from the main material of the piece (just compare the Introduction (slow) and the main theme (fast) from the Sonata No. 8 "Pathetique" for piano by Beethoven). Today's piece for sight-reading is Introduction from Introduction, Fugue and Variations on the chorale Christ is erstanden, Op. 15 by Johannes Barend Litzau (1822-1893), a lesser known German Romantic composer. Here is the score for printing (p. 103). Since this is a Romantic piece, play it legato throughout. If you are curious how the chorale sounds after the Introduction, feel free to sight-read it, too (p. 104-105). PS Often we play quite literal hymn introductions for church services. However, this piece could inspire you to create your own, musically more interesting Introduction before playing a hymn of your choice. You have probably heard that triplets in music are only created in duple meter (and duplets - in triple meter). Well, it turns out that you can play the triplets even in triple meter, IF these notes are rhythmically smaller than the beat of the measure.
For example, in 3/8 meter you can't create eighth note triplets (because that's the beat value). But you can create sixteenth note triplets very easily. Today's piece for sight-reading is the Fugue in D minor by Wilhelm Friedemann Bach (1710-1784), J.S. Bach's eldest son which features sixteenth-note triplets in 3/8 meter. Here is the score (p. 7) for you. The challenge lies not only in playing triplets but also regular sixteenths which come after the triplets. Do not rush the regular sixteenths. Count out loud the beats, if you need to keep the steady pulse. Today's sight-reading piece is chorale prelude Wer weiß, wie nahe mir mein Ende, from Organ Improvisations, Op. 65, No. 55 by Siegfried Karg-Elert (1877-1933) a prominent German organ composer.
Here is the score (p. 34-35). The tempo is Adagissimo. Therefore, play this piece super slow. Notice how the upper two voices create sigh-motives throughout the chorale prelude (two legato notes in step wise motion). As you play, listen to the lush chromatic harmonies and aim for legato touch with multiple finger and pedal substitutions. Articulate after the second note of the two-note group. If you are not advanced player, play separate parts of this piece. In the Baroque music, we can find several meters in one piece which keep changing back and forth. At the point of the change, we have to know precisely how the new meter compares to the old meter and vice versa. Sometimes relationship is straightforward enough to understand it right away, sometimes not. And there are pieces that offer not one but several options for meter relationships (the famous Eb major fugue by J.S. Bach, BWV 552/2).
Our today's selection for sight-reading is Medio Registro Vasso by Pablo Bruna (1611-1679), an important Spanish early Baroque composer, notable for his blindness. Most of his works are in the form of tiento de medio registro (a Spanish version of the polyphonic ricercar for organs with divided keyboards). The divided keyboard was a typical feature of the Spanish organs of the day (the division was at middle C/C#). This meant that using only one keyboard, an organist could play with two distinct sounds - one for the bass (up to middle C) and one for the treble (from middle C# upward). Exactly such piece is Medio Registro Vasso. The highest C in the bass is reached several times (in measures 25, 85, and 114). The right hand part does not descend lower than C# (in measures 19 and 66-68). This tiento is written in the mode of G and starts with the subject which is 4 measures long in 4/4 meter. Here's the plan of this tiento: 1. (m. 1) Subject in the tonic (alto). 2. (m. 3) Answer in the dominant (tenor). 3. (m. 7) Answer in the dominant (soprano). 4. (m. 14) Answer in the dominant (bass). 5. (m. 18) Subject in the tonic (bass) with diminutions. 6. (m. 24) Subject in the tonic (bass). After that, the tiento develops like a free fantasia with a highly ornamented bass. 7. (m. 55) Fragment of the subject in the tonic (bass). 8. (m. 58) Fragment of the answer in the dominant (bass). 9. (m. 61) Fragment of the subject in the relative minor of the subdominant (bass). 10. (m. 63) Change of meter (3/2). From that point, sometimes the music moves in 6/4 meter (compare m. 63 with 65). In m. 63, there are three half notes in the right hand part and in m. 65 - two dotted half notes. That's the difference between 3/2 and 6/4 meters. The same thing is in m. 104-107 (3/2 meter) and from m. 108 (6/4 meter). The duple meter returns only at the final cadence (m. 129). When playing this piece, you have to be conscious of these meter changes - in 3/2, count "1 and 2 and 3 and" while in 6/4, count "1, 2, 3, 4, 5, 6", stressing 1 and 4. As I played this piece today, I found that the tricky places would be: 1. (m. 13) Preparation for the bass entrance - including the movement of the tenor to the right hand part and keeping it tied-over the bar line (G) while the alto plays B-A separately. Remember to articulate. 2. From that point, the main difficulty with the right hand part will be articulation - making sure the syncopations and tied-over notes are held precisely and the other parts are played with articulation. The solution to this problem is to play slowly enough so as to notice the different rhythms of the three upper parts. 3. (m. 63) Change of meter. Refer to the counting ideas above (from 3/2 to 6/4 back and forth). 4. (m. 100 onward) Fast eighth note movement in the left hand part. 5. (m. 104 to 107) Change the counting to 3/2. 6. (m. 124) Unexpected dominant 6/5 chord at the second half of the measure. 7. (m. 129) Change of meter. Take a slow tempo and use articulate legato touch throughout. If you can't play both hands together comfortably, work on separate hand parts. Since not too many organists nowadays have access to organs with divided keyboards, most people will have to play it on a two manual organ with the bass part on the solo registration. Here's the score for printing, if you want to play this rhythmically interesting tiento. Johann Ludwig Krebs (1713-1780) was one of the most outstanding students of J.S. Bach. His prolific output for organ crosses the boundaries of the Baroque and often goes into the Galant style. Nevertheless, he's considered as the last master of German Baroque.
This morning I've sight-read his Toccata in G Major in the Galant style. This piece (2/4 meter) for one voice in each hand is written in the binary form with traditional repeats. The most developed voice is the upper part with the harmonic accompaniment in the left hand. Here's the tonal plan of this Toccata: 1. (Page 1-system 1-measure1) G major, tonic. 2. (1-5-1) E minor, relative minor. 3. (1-5-3) D major, dominant. 4. (2-3-1) A minor, relative of subdominant. 5. (2-3-3) G major, tonic. As I've played it today, I thought some of the more difficult places for some people would be: 1. (1-5-1 to 1-5-2) Changing position on the keyboard with leaps up and down. 2. (1-6-1) Unexpected leap by a perfect fourth in the left hand part. 3. (1-6-2) The highest E is easy to miss. 4. (2-2-1 to 2-2-2) Chromatic tonicizations in both parts - ascending sequence (G major, A major, B minor, and D major). 5. (2-3-1) Prepare the high D in the left hand part in advance (right after the low D in the previous measure). 6. (2-5-2) While sensing the large leap ahead, don't forget to play previous notes in the right hand correctly. Focus your attention on the current moment. 7. (2-6-1 to 2-6-2) Descending chromatic sequence. Large leaps in the right hand part. Here is the score for printing, if you want to play this charming little piece. I think you have to ignore the editorial markings (except the fingering) as they are not original. Use articulate legato touch. As you look at each interval which is being played between both hands, you can't help but notice sweet sounding thirds and sixths almost everywhere (with the exception of unprepared dissonances for spice) - an indispensable feature of the free 18th century-style counterpoint. When it comes to dancing on the pedals, one of the organ pieces definitely comes to mind - The "Gigue" Fugue in G major, BWV 577 by J.S. Bach. The theme of this famous fugue which you can see in the above picture creates a real dance-like character when played with the pedals. Not surprising - 12/8 meter and fast tempo make it fun to play and even more to watch (especially the feet of the organist).
I've learned this piece many years ago and decided to play it this morning (thanks to Russell who wanted some guidance on learning it). There are 10 subject entrances in this fugue: 1. (page 1-system 1- measure 1) Subject in G major, tonic, tenor. 2. (1-2-4) Answer in D major, dominant, alto. 3. (1-5-4) Subject in G major, tonic, soprano. 4. (2-2-2) Answer in D major, dominant, bass. 5. (2-5-2) Subject in B minor, relative minor of the dominant, tenor. 6. (3-4-2) Subject in E minor, relative minor, alto. 7. (4-2-2) Subject in G major, tonic, bass. 8. (4-3-4) Answer in D major, dominant, soprano. 9. (4-5-3) Subject in B minor, relative minor of the dominant, tenor. 10. (5-3-1) Subject in G major, tonic, bass. This time, when I played it, I looked at this fugue with the fresh eye and tried to imagine the difficult places for many organists: 1. (1-2-2) Play a mordent on the beat starting with the main note. 2. (1-5-4) Don't forget to take on the first beat the alto and the tenor parts with the left hand. 3. (2-2-2) Prepare in advance for the pedal entrance. 4. (2-2-2 to 2-3-1) Active pedal part - difficult movement with the right foot. 5. (2-4-1) Additional tenor part - don't miss it. 6. (2-5-1) Active pedal part approaching the cadence in B minor. 7. (3-4-2) Active left hand as well as the mordent in the right hand (start from the upper note on the beat). 8. (4-2-2) Prepare for the pedal entrance in advance. To avoid damaging your knees, your lower body should be facing the high pedal notes and the upper body - looking straight. 9. (4-2-2 until the end) Extremely active pedal part. In descending pedal lines, push off with the right foot and in ascending pedal lines, push off with the left foot to change position on the pedalboard. Here's the score for printing, if you want to play it. Don't forget to use articulate legato touch and aim for a slow tempo because pedal entrances will not be easy. Play separate parts, if you are a beginner. Feel free to use a secondary softer manual for echo passages (notated - p). Which composer's music sounds just like the style of the Frenchman Louis Vierne (1870-1937)? How about Maurice Blazy (1873-1934)? He is mostly remembered for being Louis Vierne's teacher. He was an organist at the church of St Peter of Montrouge and the professor at National Institute for the Blind Youth in Paris. Blazy died in a tragic accident after being hit outside his house by a bus. The selection of sight-reading for today is Blazy's Allegretto. This charming piece is dedicated to René Vierne (1878–1918) who was a younger brother of Louis Vierne, a talented organist and composer who was killed in WWI. Allegretto (G major, 3/8 meter) is full of chromatic harmony (all kinds of seventh chords and ninth chords and their inversions) which was the signature style of Louis Vierne. This piece is composed in a ternary ABA form: A (page 1-system 1-measure 1), B (2-2-5), A (4-1-1). Although the chords mostly are very chromatic, it's possible to notice this tonal plan with cadences in G major (1-2-3), D major (1-4-7), G major (2-1-4), C major (2-1-8), E minor (2-2-4), E minor (2-4-4), B minor (2-5-5), A major (3-1-4), C major (3-2-1), A major (3-3-2), E major (3-3-6), A major (3-4-5), G major (4-1-1), C major (4-2-4), F major (4-2-8), and G major (4-3-4). From 4-3-4 there is a tonic pedal point with the syncopated G in the pedal part until the end of the piece, creating a feeling of tranquility and completion. When I was sight-reading Allegretto this morning, I thought some of the more difficult places were: 1. (1-3-3) Chromaticisms in the left hand part 2. (1-3-5) Ornament in the right hand part (play it before the beat) 3. (1-4-1) Leap downward in the right hand part 4. (2-3-3) Increase in the number of voices and passing of the voice from the left hand to the right hand 5. (2-3-4) Sixteenth notes in the right hand 6. (2-3-5) Missing C# in the bottom voice 7. (2-3-6) Movement in all three voices 8. (2-4-4) Preparation for the pedal entry (staccato) 9. (2-4-4 to 2-5-2) Syncopations in the left hand part against the movement in pedals 10. (2-5-4) D in soprano should be finger 5 11. (3-2-1) Change in harmony on the downbeat 12. (3-2-7) Legato in the pedals against repeated note in the tenor 13. (3-3-6) A ninth chord on the downbeat 14. (3-4-2) A simultaneous downward movement in the hand part 15. (3-4-4) Movement in all the parts 16. (3-5-3) Chromatic movement in pedals 17. (4-3-7) A ninth chord on the third beat 18. (4-4-3 to 4-4-4) Change of harmony on the downbeat If you want to play this sweet Allegretto, here is the score for printing. I recommend you take a very slow tempo at which you can comfortably play these chromatic chords and sixteenth note passages. If you struggle with playing all parts together, simplify the texture and play hands separately. Employ lots of finger substitutions and aim for a smooth legato (except when it's written otherwise). Today sight-reading menu for me was Prelude and Fugue in Eb major (BWV Anh.177) by Johann Christoph Bach (1642-1703). This composer was J.S. Bach's first cousin once removed. This piece earlier was attributed to J.S. Bach. That's why you can see the BWV number next to the piece.
The prelude is composed in the Italian style, similar to Frescobaldi with the characteristic scalar passages alternating between the hands. South Germans Johann Jakob Froberger and Johann Pachelbel used to write this kind of music, too. It starts with the opening cadence, emphasizing subdominant chords over the tonic pedal point which establishes the Eb major key. Later, the music moves to C minor (page 1-system 2-measure 3), Ab major (1-3-3), F minor (1-4-1), back to Ab major (1-4-2), Eb major (1-4-3), Bb major (1-5-1), C minor (1-5-3), G minor (1-6-2), C minor (1-6-3), and back to Eb major (1-7-4). You may notice also a curious dominant pedal point in the C minor key (1-7-1 to 1-7-4) in a place where probably the preparation for the ending in Eb major (with the Bb in the bass) could be more expected. An interesting feature of this prelude at the last line of that page is that only the chords are written, and you can add your own figuration in the arpeggio style. When you play this prelude, you may experience some of the difficulties in these places: 1. (1-4-2) At the second half of the measure there is a tricky leap downward in the left hand part. 2. (1-6-1) At the second half of the measure only the bass should be played with the left hand. It's not very easy to figure it out right away. Therefore look ahead. 3. (1-6-2) At the beginning of this measure, your fingering for the left hand should be 3-5. Otherwise, there's no way to play tenor and bass together gracefully. 4. (1-7-1 to 1-7-3) If you choose to add arpeggio figures to the chordal outline, feel free to steal some figuration from 1-7-1, 1-4-1, or simply play arpeggio from the bottom note upwards (while holding the G in the bass). The fugue starts with the chromatic subject. After the opening leap up a perfect fifth (or a perfect fourth in the answer), you may notice the chromatic half-steps filling in the interval of the perfect fourth (from Bb to F). Here's the plan of this fugue: 1. (2-1-1) Eb major (tonic): bass 2. (2-1-3) Bb major (dominant): tenor 3. (2-2-2) Eb major (tonic): alto 4. (2-2-5) Bb major (dominant): soprano 5. (2-3-3) Eb major (tonic): alto 6. (2-4-1) Bb major (dominant): tenor 7. (2-5-1) Eb major (tonic): soprano 8. (2-6-1) Bb major (dominant): bass 9. (2-7-1) Eb major (tonic): tenor 10. (2-7-4) Bb major (dominant): alto 11. (3-1-1) Eb major (tonic): soprano 12. (3-1-4) Canonic stretto: tenor and bass 13. (3-1-5) Eb major: alto 14. (3-2-2) Canonic stretto: tenor and alto 15. (3-2-4) Canonic stretto: soprano and tenor 16. (3-2-5) Canonic stretto: bass and soprano The fugue ends with the free improvisational episode which is similar to that of the Prelude (3-3-3). The key areas are Eb major (3-3-3), G minor (3-4-1), Eb major (3-5-2), Ab major (3-6-1), and back to Eb major (3-6-2). Some of the more difficult places to play in this fugue are: 1. (2-4-1) Preparation of the left hand entrance in advance 2. (2-6-1 to 2-6-4) Thick chordal chromatic texture 3. (2-7-4) Syncopated tenor part 4. (3-2-2) Unexpected leap in the bass part 5. (3-2-4) Preparation of the subject entrance in the soprano part 6. (3-2-5) Preparation of the subject entrance in the bass part 7. (3-3-4) Modulation to G minor 8. (3-4-1) Scalar passage in the right hand part 9. (3-5-3) Notice the Db in the right hand part 10. (3-7-3) Rhythmically precise dotted eighth-note rest followed by the sixteenth-note in the alto part I hope you will enjoy playing this well-crafted prelude and fugue. Here's the PDF score. If the four-part texture is too advanced for you, play hands separately in a very slow tempo using articulate legato touch (with small spaces between each note). |
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