A Catholic Organist s Book of Hymns TheLiturgivcal Year

A Catholic Organist s Book of Hymns TheLiturgivcal Year

Using the Organist Book of Hymns Hymn tunes can often e sung ith different texts. This ook has the tunes listed alphaetically Hymns are arranged y the TUNE name in this ook. Reading this ook on and ipad or a talet Use FIND and SEARCH on the program you are using to vie the music to find the music for the TUNE of the hymn. TUNE names are listed ith a location (page) numer that you ould use to find that hymn tune using the FIND or SEARCH indo of Acroat Reader, Previe or the program you use to read PDF files. Registrations There are 10 asic registrations suggested for stops that may e found on most organs. The stop settings are part of the Playing the Church Organ series of ooks, eginning ith Book 1, hich can e used ith almost any organ. But you do not need to purchase that ook, rather, if you send us the name of the organ and a model numer or stop list, e may already have a stop list for you on file - for custom uilt organs (including pipe organs), ust email us a spreadsheet ith listing the keyoard, stops on that division including their footage. We ill send ack a list of stops for you to set to pistons. Note that the stop registrations look like this on the left side of the page: 1/4 This indicates on an organ ith 10 general pistons, you use piston 4, memory level 1. On the right side of the page are registrations for organs ith only 5 general pistons - so they ill use memory level 1 and 2 settings. What if you do not have stop registration pistons Send us a spreadsheet listing the stops, and e ill send you a list to set y hand. noel@frogmusic.com All arrangements 2014 Frog Music Press. You, as an individual suscrier, have permission to print any and all music from this ook for your on personal use. Parish suscriers may print for all organists in the parish.

TheLiturgivcal Year to All Saints

Tune Chorale Prelude 3 Part Organ Hymn AZMON 18 2 19 BEACH SPRING 20 2 21 BESAÇON 22 2 23 CAROL 24 2 25 CHRIST IST ERSTANDEN 26 2 27 CLARIBEL 28 2 29 CORONATION 30 2 31 CRADLE SONG 32 2 33 CROSS OF JESUS 34 2 35 CWM RHONDA 36 2 37 DIADAMATA 38 2 39 DIX 40 2 41 DRAKES BROUGHTON 42 2 43 DUGUET 44 2 45 EASTER HYMN 46 2 47 EIN FESTE BURG 48 2 49 ELEEACOMBE ELLACOMBE 50 2 51 ENGLEBERG 52 2 53 ERHALT UNS HERR 54 2 55 EST IST EIN ROS 56 2 57 EUCHARISTIC HYMN 58 2 59 EVENTIDE 60 2 61 FULDA 62 2 63 GAUDEAMUS PARITER 64 2 65 GELOBT SEI GOTT 66 2 67 GLORIA 68 2 69 GRAEFFENBURG 70 2 71 GREENSLEEVES 72 2 73 GROSSER GOTT 78 6 79 HAMBURG 80 2 81 HANOVER 82 2 83 HELMSLEY 84 2 85 HERZLIEBSTER JESU 86 2 87 HYFRODOL 88 2 89 HUMILITY 90 2 91 HYMN TO JOY 92 2 93 ICH GLAUBE AN GOTT 94 2 95 IRBY 96 2 97 JESU MEINE ZUVERSICHT 98 2 99 JUDAS MACCABEUS 100 2 101 KING S WESTON 102 2 103 KOMM GOTT SCHOPFER 104 2 105 KREMSER 106 2 107 LAMBILOTTE 108 2 109 LASST UNS ERFREUEN 110 2 111 LAUDATE DOMINUM 112 2 113 LIEBSTER JESU 114 2 115 LLANFAIR 116 2 117 LLANGLOFFAN 118 2 119 LOBE DEN HERREN 120 2 121 LOURDES HYMN 122 2 123 MELITA 124 2 125 MERTON 126 2 127 MESSIAH 128 2 129 MORNING STAR 130 2 131 MUELLER 132 2 133 MUNICH 134 2 135 NETTLETON 136 2 137 O FILII ET FILIAE 138 2 139 O HEILAND, REISS DIE 140 2 141 O PERFECT LOVE 142 2 143 O STORE GUD 144 2 145

O STORE GUD 144 2 145 O WALY WALY 146 2 147 OPTATUS 148 2 149 OLD 124TH 150 2 151 PANGE LINGUA 152 2 153 PASSION HYMN 154 2 155 PEROSI 156 2 157 PICARDY 158 2 159 PLEADING SAVIOR 160 2 161 QUEBEC 162 2 163 RESIGNATION 164 2 165 ROCKINGHAM 166 2 167 RUSTINGTON 168 2 169 SALZBURG 170 2 171 SINE NOMINE 172 2 173 SLANE 174 2 175 SONG 13 176 2 177 STABAT MATER 180 4 181 ST. AGNES 182 2 183 ST. BEES 184 2 185 ST. CATHERINE 186 2 187 ST. DENIO 188 2 189 ST. GEORGE S WINDSOR 190 2 191 ST. GREGORY ANIMA 192 2 193 ST. KEVIN 194 2 195 ST. LEONARD 196 2 197 ST. PETER 198 2 199 ST. STEPHEN 200 2 201 ST. THEODULPH 202 2 203 ST. THOMAS 204 2 205 ST. THOMAS (WILLIAMS) 206 2 207 STEINER 208 2 209 STELLA 210 2 211 STILLE NACHT 212 2 213 STUGGART 214 2 215 STUGGART 214 2 215 SUNRISE 216 2 217 UNDE ET MEMORES 218 2 219 VENI SANCTI SPIRITUS 220 2 221 VICTIMAE PASCHALI 222 2 223 VICTORY 224 2 225 W ZLOBIE LEZY 226 2 227 WACHET AUF 228 2 229 WAS LEBT 230 2 231 WEM IN LEIDEN STAGEN 232 2 233 WERE YOU THERE 234 2 235 WERNER 236 2 237 WINCHESTER NEW 238 2 239 WONDROUS LOVE 240 2 241 ZEUCH MICH, ZEUCH MICH 242 2 243

We organists tire of hymns, practicing them on the organ, playing them for choir rehearsal, teaching them to cantors. But the congregation hears them once, tice, three times and, after the third time the choir and cantors complain, Do e have to sing that one again Can t e sing something ne If you ant the congregation to sing, the anser is no. Hymns that are loved are simply hymns that are repeated over and over again, ecoming life-long friends to those in your congregation. It is essential for you to keep this in mind. Play chorale preludes on the hymns to prepare the congregation for the first time they sing it. Then introduce singing the hymn Once they are comfortale singing it, then play the chorale prelude to introduce the hymn. They ill enoy that, too. Introducing a hymn y playing ust the last line ust does not ork. Name That Tune started ith the first note and so should you hen introducing a hymn. Playing the entire hymn gives people ho have recognized those first fe notes time to find a hymnal and find the page. More people ill sing the hymn. It is etter to cut a verse from the end of a hymn ecause you have run out of time ith more people singing, than playing a rief introduction and sing the entire hymn ith feer people holding open hymn ooks and singing.

Playing thehymntunes. Play the Chorale Preludes ithout noticeale reaks that might confuse the congregation and make them think that it is time to sing until you reach the last measure. Play the Organ Hymns ith clean, clear reaks during the rests that ill serve as the upeat of the conductor s hand, indicating the exact tempo and giving them time to take a reath for onderful, floing hymn singing. Avoid sloing don at the end of the choral prelude and at the end of verses except for the final verse. Keep the flo of the rhythm going! Final verses of triumphant hymns can enefit from a it sloer tempo to make an even grander sound. Fast hymn playing fails to give singers time to reathe. In the ack of this ook you ill find more playing suggestions. 1

Organ Hymn in 3 Parts 1/4 1/4 ADORO TE DEVOTE Godhead Here in Hiding......... 2

Chorale Prelude 1/4 1/4 ADORO TE DEVOTE Godhead Here in Hiding.. n n... 3

Organ Hymn in 3 Parts 1/4 1/4 ALTA TRINITA BEATA Blessed Feasts of Blessed Martyrs.. Ó Ó.. Ó Ó 4

Chorale Prelude 1/4 1/4 ALTA TRINITA BEATA Blessed Feasts of Blessed Martyrs n n n n A.... 5

Organ Hymn in 3 Parts 1/2 1/2 ANIMA CHRISTI Soul of My Savior..... n. #...... #... ANIMA CHRISTI 6

Chorale Prelude 1/2 1/2 ANIMA CHRISTI Soul of My Savior. #. # # # n #... #.. ANIMA CHRISTI 7

# # # #.. J.. ANTIOCH Joy to the World J J J J. r. r J. 8

.. ANTIOCH Joy to the World. J. J J. r J. r.. 9

Organ Hymn in 3 Parts 1/2 1/2. AR HYD Y NOS Day is Done... n.......... n... J.... J J...... n.. AR HYD Y NOS 10

Chorale Prelude 1/2 1/2.. AR HYD Y NOS Day is Done.. n. n.... n.... AR HYD Y NOS 11

Organ Hymn in 3 Parts 1/2 1/2. ATTENDE DOMINE O Lord, Incline Thine Ear....... 12

Organ Hymn in 3 Parts 1/2 1/2. ATTENDE DOMINE O Lord, Incline Thine Ear....... Without rests. 13

Organ Hymn in 3 Parts 1/2 1/2. ATTENDE DOMINE O Lord, Incline Thine Ear....... Without stems. 14

Chorale Prelude 1/2 1/2 GT Fine SW D.C. al Fine 15

AUS Organ DER Hymn TIEFE RUFE in 3 Parts ICH Chorale 1/3 Prelude 1/3 AUS DER TIEFE RUFE ICH Forty Days and Forty Nights n. # n A # 16

Chorale Prelude 1/3 1/3 AUS DER TIEFE RUFE ICH Forty Days and Forty Nights n n n A n # 17

Organ Hymn in 3 Parts 1/5 1/5 # # AZMON ST. AZMON O For A Thousand Tongues To Sing. # Ó # Ó # Ó #. Ó 18

Chorale Prelude 1/5 1/5 # # AZMON ST. AZMON O For A Thousand Tongues To Sing n # #. n # # 19

Playing Hymns on the Organ Detached notes. If you ve ever taken lessons on playing a ind instrument, you kno that each note has a eginning and an end. Some notes are connected to the folloing one, some are not, in that case you leave a it of silence in eteen each one. This applies to hymn playing at the organ as ell. The organ is also an instrument that sustains its tone instead of dying aay like the piano. So organists have to think like ind 4players and not like pianists to make the organ sound effective hen playing, especially hen playing hymns. 5 5 5 5 As an example, normally these notes are played like this: This may e a little clearer to understand as this is ho they are played. Hymns in Three Parts* If you are playing a hymn in three parts, only 3 fingers are playing at any one time, leaving 7 fingers availale to play the next three notes to e played next. Think of playing the organ to e like playing the game, Tister. Those three fingers have to stay in place until they are replaced. No, let s look at four part hymns - four notes, to in each hand most of the time, and you ill see that keeping to keys held don using only four fingers and a thum requires sustitution hile playing. You ill find yourself sliding the thum from the key it is playing to the key next to it and performing contortions ith your fingers. Hymns played in three parts confine the left hand in most cases to play only one key at a time, letting you concentrate on keeping to keys playing at all times in the right hand. Trust us, it is much easier playing three part hymns than four part hymns. Only hen playing for a choir that sings verses in four parts direct from the hymnal is it preferale to play in four parts at the organ. We are providing the organ scores in four part versions to match the hymnals for use hen needed, ut having an organist ho is ale to lead the hymns singing ith confidence is much more important that having an organist play hymns in four parts. *A melody alone is one part. Adding another melody against it gives you to parts. (think of to singers singing a duet). Three parts gives you a trio. This ould seem simple to do, ut then you need to also tie together repeated notes into one long note if the voice aove it is repeated ith space eteen the notes! Confusing, yes, ut something that coulde e a lot simpler if the hymn as ritten out exactly as an organist should play it. And that s hat e have done. Hymn ooks are ritten for singers, not for organists. In the Organist s Book of Hymns series, hymns are ritten out for you to play, ust as ritten. 246

Dealing ith repeated notes. The maor technique required to play hymns on the organ. This is the first line of Praise to the Lord as ritten in hymnals.... 1. But an organist must insert a rest, cutting the last note short, to indicate the end of the line. This tells the singers that they make take a reath and also gives a strong attack to the eginning of the next line. The only ay to accent a note on the organ is to insert silence efore it, shortening the previous note... 2. By using inserting a rest half the value of the note, you emphasize the pulse of the music. Many congregations ill also reathe after Lord. Insert a rest, half the value of the previous note, there as ell... 3. When playing the melody of the hymns, repeated notes are shortened to half their value and rest insert If repeated notes are not clearly separated on the organ, they ill not e heard... 4. These its of silence make the rhythm of the hymn flo very nicely. Composers intend these its of silence to e there. They ork like consonants that appear at the eginning of ords and syllales to create a rhythm. Study the third line of this same hymn elo. Find here 5 rests are inserted to play this melody, then turn the page... 247

5. At the reath at the end of the line.. 6. At the reath at the end of the second measure. 7. After each repeated note. J J When orking ith a music director, you may find that they do not ant the choir to take reaths in the midst of a lone, if so, ignore the rest. On playing a last verse, especially ith a very full organ stop setting, you may decide to play through the entire verse ignoring all the reath rests (ut still playing the repeated note rest.) When playing from this ook, the only thing you have to do it to rememer to alays shorten repeated notes y half herever they appear. It is the practice of experienced organists to do this in the loer voices ut if there are repeated notes in the higher voices at the same time, the loer notes are not separated at all - instead three quarter notes repeated on the same note ould e played as on dotted half note instead to provide solid support for the separated notes aove. This sounds complicated and it is, ut makes the hymns sound onderful. So in this ook e have gone ahead and ritten repeated notes that should e help as one long note. This eliminates guessork for you and improves your hymnplaying. So hen playing from this ook, the only thing that you have to rememer to do is to insert a rest after any repeated notes and play everything as ritten. 248

Which hands on hich keyoards Playing Hymns When playing hymns, oth hands on the same keyoard at all times. This gives equal support to the singing. It is suggested that you move from one keyoard to another - oth hands - on a verse or to, starting on the Great, going to the Sell and then returning to the Great and playing the pedals or add the Bass Coupler so the organ plays them for you. You may start on the Sell and move to the Great. Variety is very important. Pistons 2-7 are uilt so that the Sell is alays availale as an alternate keyoard at a loer level to play. Playing Choral Preludes These are quite different. You ill notice that some of the lively ones have only the melody in the right hand. These may e played on piston 1/10 (2/5 on the 5 piston organs) and here the Festival or State Trumpet or other solo reed really shines. Of course, you may also play them on 1/5 - full to mixtures, or ack on 1/10, ut keeping oth hands on the Great for lighter yet grand sound. Some of the more dissonant ones play nicely on 1/1, using the II Celeste stops, hich take some of the edge off, ut they also may e used as postludes using 1/5. The great thing aout the organ is that y changing stops the music can take one a totally different character. In his guide to improvisation, French organist Marcel Dupre emphasises the necessity for short pieces of music to e played at Mass - long, structured orks are difficult to ring to a sudden end during Mass, hile the same music in a Protestant service ould e continued to its finish as there it is often a part of the orship service instead of accompanying the processions as people move in the liturgy. The music should never hold up the progress of the Mass except for the Ordinary, that is, the sung Kyrie, Gloria, Credo, Sanctus and Agnus Dei as they are essential parts of the liturgy. So here e have many chorale preludes for you to use. Do not hesitate to repeat them as needed to fill the time of the procession, e it during the Offertory or the Communion ut to keep them from ecoming oring, change the registration of the stops each time you repeat it. The Festival Trumpet MELODY coupler You may often find times hen you need a large trumpet on the melody. If you are uncomfortale reaching to a second keyoard are playing or are playing from a hymn score ith more than one part in the right hand, hile playing on the Great using 1/10 (or 2/5 on 5 piston organs) press MEL and you ill hear the top note that you are playing soloing on the melody. The BASS Coupler Every hymn ill accept the use of the Bass Coupler, playing the loest note on the on the Pedal stops for you. Some Chorale Preludes ill as ell - hen you try this you may find some passages hen the ass drops out and the Bass Coupler umps to a higher inappropriate note - if so don t use it. Some times the Bass line ill go aove middle C - if so the organ ill often let you expand the range of the Bass up to match the notes that is needs to play. Check the oner s manual. Often adding a 32 or 10 2/3 stop in the pedal ill further enhance the pedal part hen using Bass Coupler. 249