The New LDS Organist Lesson 7: Hymn Playing in Polish Mode Playing Two Independent Legato Lines A podcast by Don Cook, Brigham Young University See wwworganbyuedu Materials needed: Common Stop Names Listed by Family; Hymns 8 and 98 (simplified); Hymns,, 0, and 6 (Hymnbook) This is The New LDS Organist Lesson 7: Hymn Playing in Polish Mode Playing Two Independent Lines in Legato Style If possible, it will be best to be seated at organ console You should have written materials for this lesson at your fingertips I am Dr Don Cook from Brigham Young University Lesson 7 is second four lessons on how to play hymns in polish mode You will learn how to play two independent lines in legato style with true independence line, and various ways to play hymns in two parts The versatile chorus reeds will also be introduced If you have mastered Lesson 6, you should be able to play several singleline parts in polish mode from hymn arrangements and directly from hymnbook You should be listening for perfect legato between tones, and welldefined breaks between repeated notes and at phrase breaks You should also be familiar with each six legato fingering techniques, having played through each example several times with given fingering If you have not yet mastered Lesson 6, you should do so before beginning serious work on this lesson If demands your calling require you to play several hymns and or appropriate music within ust a few weeks, you should study Lessons 0 through at same time that you work carefully on Lessons 6 through 9 You may also need to play most hymns in shortcut mode, as described thoroughly in Lesson, for first few weeks [Twopart hymn playing described and explored; independence line] Twopart playing means to play some combination only two voice parts In fourpart hymns most useful combinations are soprano and alto, soprano and tenor, soprano and bass, and tenor and bass In threepart hymns all possible combinations are useful: right and left, right and pedal, and left and pedal When you learned to play in polish mode with soprano only or soprano in octaves, you were able to focus on listening for two very important qualities in your music: perfect legato between tones (that is, playing smoothly, but avoiding both detaching or blurring tones), and welldefined breaks between repeated notes and at phrase breaks When playing in polish mode with two parts, you must listen for a third important quality: independence line
What exactly is independence line It means that each line keeps its integrity, regardless what or lines are doing Breaks in one line do not cause breaks in or lines, and sustained tone in one line does not cause a tie between notes that should be repeated in or lines Find your copy Hymn 98, I Need Thee Every Hour, simplified for organ in three parts Follow along as you listen to right and lefthand parts played with true independence line You might mark an x above treble staff wherever only one part breaks, requiring independence line: that is, in first verse after words most, no, second I chorus, and between Oh and bless Note as you listen that in each line at se points legato is complete, and that breaks between repeated notes and at phrase endings are distinct and clear ***98 I Need Thee Every Hour (q=66), part arrangement, right and lefthand parts, with independence Now listen to same example played again But this time lines that should be legato ( heavy ) at se points will be broken ( light ), simply because a light break occurs in or part ***98 I Need Thee Every Hour (q=66), part arrangement, right and lefthand parts, with breaks at independence points Now listen again This time repeated notes will be almost or completely tied ( heavy ) at se points, simply because a heavy legato occurs in or part ***98 I Need Thee Every Hour (q=66), part arrangement, right and lefthand parts, with flinches and ties at independence points These, in review, are two most common problems with independence line: A break occurs in one line due to a repeated note or phrasing breath This causes a hand or foot to break in anor line where a legato connection or sustained tone should occur In or words, light break causes anor part to be light where it should be heavy or A sustained tone occurs in one line due to a legato connection, long note, or tie This causes two notes in anor part to be nearly tied (I call this a flinch ) or completely tied or slurred where a distinct break should occur In or words, heavy connection in one part causes anor part to be heavy where it should be light Here is a simple but effective way to overcome problems with independence line I call it freezing technique If you find yourself breaking where it should be legato; or tying, playing legato, or flinching where re should be a distinct break, mark an x above treble staff at that precise point Starting back one or two beats, play slowly to that point, and n stop or freeze The hand or foot that breaks should be hovering in mid air, and hand or foot that sustains should still be playing Hold in that position long enough to feel which hand or foot is heavy, and which hand or foot feels light Then play to next note and stop That is one perfect freeze Here is an example freezing technique applied in I Need Thee Every Hour, threepart arrangement, between measures and ***98 I Need Thee Every Hour (q=66), part arrangement, all three parts, freezing technique Repeat this little process three or four times, following every step exactly as described Notice how much easier it becomes every time! Now start back a measure or two and practice slowly through that spot without freezing This process takes no more than a minute or two, and will reward you many times over in clean, independent lines
Now it s your turn to try playing with good legato, welldefined breaks, and independence line It will take some practice to learn both parts by yourself, so for now ust play righthand part as I play lefthand part You should notice that my legato connections do not care about your breaks, and my breaks don t care about your legato connections Likewise, your legato connections and breaks should not care about what my line is doing y are two completely independent lines! Pull principals 8 and on Great Play legato throughout, except for breaks between repeated notes and at phrase breaths I ll count and we ll both come in on You play right hand Ready,,, ***98 I Need Thee Every Hour (q=66), part arrangement, lefthand part Next you play left hand while I play right Ready,,, ***98 I Need Thee Every Hour (q=66), part arrangement, righthand part If you wish, go back and play se parts again until you feel comfortable playing your part with complete independence from mine Of course, y should share same pulse, and phrases should end toger We have ust experienced two independent parts played in polish mode The lines flow in a smooth legato, and repeated notes are clearly distinguished one from anor Also, phrase breaks occur in a way that helps to clarify meaning text in verse one [Choosing which two four parts to play] Playing this hymn in this way (right and left hands only) does not result in complete harmony that is certainly desirable However, with this stop combination (principals 8 and ) you could provide adequate support to help lead those in congregation They could sing toger eir in unison or in parts, and spirit could be present Please remember not to hesitate to use a simple form such as this in early stages your service Playing right and lefthand parts a threepart arrangement is only one several twopart combinations that might be used for congregational accompaniment, prelude, or postlude You might also try right hand and pedal parts a threepart arrangement Or, consider following combinations two parts from a fourpart hymn, True to Faith, no This is an example a very challenging hymn that is made playable for congregational accompaniment, prelude, or postlude even in polish mode by using se twopart combinations: Soprano and alto, or soprano and tenor Here is an example each First, soprano and alto *** True to Faith, soprano and alto Next, soprano and tenor *** True to Faith, soprano and tenor Soprano and bass, with bass played by eir left hand or feet In this example, very active bass part will be played by left hand
*** True to Faith, soprano and bass, with bass played by left hand Next is a particularly useful and enoyable way to use twopart playing in polish mode for congregational accompaniment, prelude, or postlude Two organists can share four parts: one plays soprano with right hand and alto with left, and or plays tenor with right hand and bass with left For congregational accompaniment, play all hands on Great For prelude or postlude play all hands on eir manual, switch between two manuals, or solo out soprano line on or manual Always pay particular attention to producing a good legato, welldefined breaks, and independence line There are several benefits Most importantly: congregation will hear all four parts played well Also, each organist will need to learn only two parts instead four, and y will learn to follow director and to respond to one anor It does require that organists practice both by mselves and toger When playing twopart combinations, each hymn or arrangement will work better with certain combinations than with ors When two parts move through phrase in parallel thirds or sixths; or end phrase with a third, sixth or octave between m, result should be favorable When interval between two parts at phrase endings is a fourth or fifth, try playing tenor note in alto instead, or ust try anor combination In following example you will hear soprano and alto parts All phrases end with a fourth, leaving an unsettled feeling at each phrase ending ***0 Once in Royal David s City, soprano and alto only, pr8, q=80 Listen again to same hymn, but now with soprano and tenor parts All phrases end with interval a sixth instead fourth, resulting in a more stable finish for each phrase ***0 Once in Royal David s City, soprano and tenor only, pr8, q=80 Once again, listen to soprano and bass same hymn All phrases end with interval an octave between soprano and bass, resulting in a very stable but rar bland ending for each phrase The bass part is played in Pedal ***0 Once in Royal David s City, soprano and bass (pedal) only, pr8, q=8 [Chorus reeds] We now shift gears into an important organ registration topic: chorus reeds Reed pipes produce tone differently than flue pipes Instead blowing a sheet air across opening on front a pipe, reed pipes blow air around a moving tongue much like a clarinet Because this difference, tone a reed pipe tends to stand out from any principal, flute, string, or hybrid (all which are flue pipes) As with vocalists, reed stops that stand out most are called solo reeds Those that are able to blend with flues are called chorus reeds This lesson is limited to those that blend chorus reeds Here are some most common chorus reed stop names: Trumpet (or Trompette) Basson (or Fagott) Oboe (or Hautbois) Posaune (or Trombone) Bombarde
Dulzian (not to be confused with Dulciana) Clarion (spelled clarion or clairon ) Take a moment now and find all chorus reeds on your organ Stop recording long enough to hear tone each one Because tone se stops is smoor and ten ster than solo reeds, y are capable blending with flues However, y are also capable doubling as solo reeds In hymn playing, chorus reeds are used most commonly as a means adding fire to full principal chorus Usually organist will build to principals 8,,, and chorus mixture (a bright principal chorus), and n add 8 chorus reed for fire Listen to third verse simplified fourpart arrangement hymn 8, Come, Ye Children Lord The chorus reed is added to full principal chorus halfway through verse ***8 Come, Ye Children Lord, verse, beginning with pr 8,,,mix, adding chorus reed 8 at measure 9 Now, stop lesson and listen to your organ as you add eightfoot chorus reed to full principal chorus with mixture For an even more fiery effect, add chorus reeds 8 and Notice, also, addition 6foot chorus reed in Pedal on last line hymn ***8 Come, Ye Children Lord, verse, beginning with pr8,,,mix, adding chorus reeds 8 and at measure 9, and in Pedal, chorus reed 6 at measure Listen now to your organ as you add both eightfoot and fourfoot chorus reeds to full principal chorus with mixture, and n as you add 6 chorus reed in Pedal For a lessthanbright ensemble, eightfoot chorus reed can be added before chorus mixture The result is a darker sort fiery ensemble than with both mixtures and reeds The following example begins with principals 8,, and The eightfoot chorus reed comes in at midpoint, followed by addition chorus mixture four measures later ***8 Come, Ye Children Lord, verse, beginning with pr8,,, adding chorus reeds 8 at measure 9, and chorus mixture at measure Try this at your organ: pull principals 8,, and Listen for a moment, and n add chorus reed 8 Listen again, and n add chorus mixture The gentler chorus reeds, particularly Oboe or Hautbois, or a muted Trumpet, can also add a rar dark sort fire to a full chorus 8 and foot stops This combination can be particularly effective in hymn verses that have a contrasting, darker message Listen, for example, to Redeemer Israel, end verse, going into beginning verse The darker message verse is reflected in registration by removing chorus mixture and foot stops, and adding Oboe 8 The redemption promised in verse is reflected in return bright foot stops and mixture, which lend brilliance to fiery chorus reeds ***6 Redeemer Israel, end verse, verse, and beginning verse, registered as described above
Anor means achieving a dark, gravely tone is to add 6foot chorus reed to manual chorus This can be particularly effective in grand, maestic, slowmoving type hymn Listen to Hymn, O God, Our Help in Ages Past, played in this manner *** O God, Our Help in Ages Past, principals 8,,, mix, and 6 chorus reed Because ir distinctive tone, chorus reeds need special treatment They should not be overused Drawing chorus reeds for more than one verse a hymn, for example, can be tiring to ear If congregations are not accustomed to hearing reed tone, begin using it sparingly and always with purpose Never use strong reed tone where a more meditative spirit is appropriate In summary, this has been The New LDS Organist Lesson 7: Hymn Playing in Polish Mode Playing Two Independent Lines in Legato Style Make sure that you understand each se topics, and review m if needed You were reminded that lessons 6 through 9 are intended for those wanting to learn how to prepare hymns and pieces in polish mode You learned how to play two independent lines in polish mode; that is, perfect legato between tones, welldefined breaks between repeated notes and at phrase breaks, and true independence line You were made aware two most common problems that organists have with independence line You also learned several twopart arrangements three and fourpart hymns that can be useful Finally, chorus reed was described as a stop that adds fire to principal chorus Or special qualities and applications chorus reed were also described Follow up with this lesson by learning to play several twopart combinations in polish mode from hymn arrangements and directly from hymnbook Listen intently for perfect legato between tones, welldefined breaks between repeated notes and at phrase breaks, and independence line If possible, play some m for a trained organist or or musician who can confirm that your single lines have perfect legato, welldefined breaks, and independence as described Also, become familiar with several applications chorus reed Lesson 8 is next, Hymn Playing in Polish Mode Playing Three Independent Lines in Legato Style You will learn how to play three parts with only two hands, always playing with true independence line, and various ways to play hymns in three parts Couplers will also be explained, and how to achieve balance between manual and pedal If possible, it will be best to be seated at organ console for Lesson 8, and you should have written materials for that lesson at your fingertips Happy practicing! 6
The New LDS Organist Common Stop Names Listed by Pipe Category and Family Organ Tone Most every speaking stop found on organs in LDS meetinghouses is listed under its pipe category (flue or reed) and family organ tone
Exultantly q=880 b b c Come, Ye Children Lord Simplified for organ in four parts ( ) 8 Arranged by Ruth Eldredge b b c Come, Oh, All ye chil dren Lord, Let us sing with one ac cord how oy ful it will be When our Sav ior we shall see! ar rayed in spotless white, We will dwell 'mid truth and light b b ( ) b b Let us When in We will raise a oy ful strain To our Lord who splen dor he'll de scend, Then all wick ed sing songs praise; We will shout in soon will ness will oy ous reign end lays 8 b b On this Oh, what Earth shall earth songs n when we be it n cleansed shall will from be sing sin Cleansed To Ev from all in i qui ty, our Savior, Lord, and King! 'ry living thing re in b b w w b b () b b When all Oh, what Shall in men love love from will and sin n beau will bear ty cease, sway dwell; And will When our Then with live fears oy in shall each love flee heart and peace a way! will swell
I Need Thee Every Hour Simplified for organ in three parts 98 Fervently q» 607 I I I I need e need e need e need e ev ery ev ery ev ery ev ery hour, hour, hour, hour, Most Stay In Most gra thou oy ho cious near or ly Arranged by Jane Dye Lord by pain One No Temp Come Oh, J ten der ta tions quick ly make me voice lose and thine like ir a in thine pow'r bide, deed, Can When Or Thou peace thou life bless af art is ed ford nigh vain Son! I need e, oh, I 0 need e; Every hour I need e! Oh, bless me now, my Sav ior, I come to e!
Vigorously q = 96 0 Shall While We We we will will n youth know work strive Zi on fal ter In de fend ing pow rs dark ness Seek to thwart out our sal va tion; We will cleave un to to be found wor thy Of kingdom True to Faith b truth work and our n right God, truth; Lord, Œ n U While en e Shall chil dren We will watch and With faith ful my pray ones as and re b sail prom la deem eth, ise bor ed Shall we shrink or shun Cease to grasp i With fer vent zeal Who have loved and kept ron his fight rod youth word No! No! Yes! Yes! Œ u True to faith that our par ents have cher ished, True to Œ Œ
J J truth for which mar tyrs have per ished, To God s com mand, ΠΠn n Soul, heart, and hand, n Faith ful and true we will ev er stand n n n Text and music: Evan Stephens, 8 90 Timothy : Alma :8
With dignity q = 69 80 O God, our help in a ges past, Our hope for years to With in shad ow thy throne, Still may we dwell se Be fore hills in or der stood, Or earth re ceived her O God, our help in a ges past, Our hope for years to O God, Our Help in Ages Past come, cure frame, come, Our Suf From Be shel ter from storm y blast, And our e ter fi cient is thine arm a lone, And our de fense ev er last ing thou art God, To end less years thou our guide while life shall last, And our e ter nal is nal home sure same home Text: Isaac Watts, 67 78 Included in first LDS hymnbook, 8 Music: William Crt, 677 77 Psalms 90: ; 9: Psalm 8:
0 b b b b Reverently q = 69 8 Once He And in came our roy down eyes cat Lord deem al Da vid s cit y Stood a low to earth from heav en, Who is God at last shall see him, Through his own tle shed, all, Where And a his moth shel er ter laid was her a ba sta ing love; For that child so dear and gen Once in Royal David s City J n b ly and re J by ble, tle b J J b b In And Is a his our man cra Lord ger dle for was his a bed: stall; Ma With in heav n a bove, And J ry he was poor, leads that and his J J b moth er mild, Je sus Christ her lit tle child mean, and chil dren low ly, on Lived To on earth place our where Sav he ior is ho gone J J ly Text: Cecil Frances Alexander, 88 89 Music: Henry J Gauntlett, 80 876 Luke : 7, Mosiah : 8
Redeemer Israel 6 Confidently q = 8 00 Re We deem know How As long chil er he we dren is have Is com wan Zi rael, ing dered on, Our To As Good on gath stran tid ly er gers ings de his in for light, sheep sin us On And And The whom lead cried to for m in kens a to al bless Zi des read ing on ert y we in for ap call, love, e! pear Our For Our Fear shad why foes not, ow in have and by re be day val oiced ust, And ley When For our Of our pil death sor king lar by should rows dom y y ve is night, weep seen, ours Our Or But The King, in Is hour our rael De liv rer, our lone wil der ness will short ly be re demp tion is all! rove free near Restore, my dear Savior, The light thy face; Thy soulcheering comfort impart; And let sweet longing For thy holy place Bring hope to my desolate heart 6 He looks! and ten thousands Of angels reoice, And myriads wait for his word; He speaks! and eternity, Filled with his voice, Reechoes praise Lord Text: William W Phelps, 79 87; adapted from Joseph Swain, 76 796 Included in first LDS hymnbook, 8 Music: Freeman Lewis, 780 89 Exodus : Nephi :