imslp39291-sibley1802.7163.12ad-39087009986433_zundel__pp101-150_.pdf

8/14/2019 IMSLP39291-SIBLEY1802.7163.12ad-39087009986433_Zundel__pp101-150_.pdf

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104 MODERN SCHOOL FOR THE ORGAN

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MANUAL

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MODERN SC HOOL FOR TH ORGAN;

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MODERR SCBOOL FOR THE ORGANEXERCISES FOR TH LEFT FOOT

L L h L Lh Lht u The other Scales are playd in a lik manner.107.ESP

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108 CHROMATICCALE.

It will be observed tha t the sli ing and changing Toe and use of the Swell playing. Properly and discritni-Heel on the same key has to be taken advantage of veryfrequently in order to render the passages as smooth as pos-Pible. Before leaving the subject however we repeat the re-mark that by impartmg instruction how to play Pedal andnatingly employed the eres eedo of a swell is delightful butit becomes a perfect nuisance with players who work it withas muoh zeal as is bestowed by a good- housewife on a sewing machineSwell together we 40 not mean to encourage the too frequent


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MODERN SCHOOL FOR THE OR )kN.ON OCTAVE PLAYINOT he rem ark on Sliding and changing To e and Heel in pre- Doypio.) the marks above the Peda

o ling ohapters, apply in octave playing to both feet. s to the right as well as left foot. Pla y P e d ah1To e and Heel ot the right and left foot are simultaneously with the Heels all others with the Toea

M ANUAL 1PEDAL


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39 MODERN SCHOOL FOR THE ORGANc


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LTALJDERNCHOOL FOR TH ORGAN

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Adagio

l X 1 MODERN SCHOOL FOR THE ORGANT h e following pieces have been com posed and carefully se- attend to i t himself. Th e majority of the piecr d in t1.e 24lected with a view to practical usefulness as opening volunta- part are oalculated for Organs with two Mannals, hut rnay bees), and to a pleasing study. Rem arks a s to the proper mode made to produce good effect by alwa ys adding one or ta-o

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of fingering, etc., are hrnceforth mostly omitted, because,

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more stops to the passages for the Grea t Organ, when played

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we presume that the s tudent is n n w far enough advanced to on Organs with one Manual.

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MODERN SCHOOL OR THE ORGAN

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MODERN SCHOOL FOR THE ORGAN 33

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MODERN S HOOL FOR THE ORGANVOLUNTARIES OF A JOYFUL CHARACTER

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MODERN SCHOOL POIt THE ORGAN

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1 S MODERN SCHOOL FOR TIIE ORGAN.COMBINATION

W e suppose tha t every student ha s made sufficient pro-gress in the study of mathematics to know that an Organ of29 Stops, offers.inexhaustible resources for combinations. W esulbpose, further, tha t every stude nt would reject a vast ma-jority of all these possible kombinations, as too unmusical tobe listene d to-but we have also reason to suppose that not afew of our young friends are unaw are of t.he importance andgre at utility of th is branch in the art of Organ-playing ; yea,even otherwise m ost competent teachers a nd authors of meth-ods for the organ have neglected to give that degree of atten-tion to this subject it certainly deserves, for we cannot findeven an y mention made of it in lendin g Schoo ls for theOrgan.In the attempt to give a few hints on this subject, we aremet with one reat obstacle, viz the prevailing confusion inthe names o f t e Organ Stops, entirely different tone quali-ties being found in different Organs, under the same name.A careful reading of the description of Stops in Pa rt I., willsomewhat dimirtish this difficulty, the more so, becausewe shall confine o~irselv es to sto pi generally known andmade, if not equal, ye t very similar by all builders, andcorltained in all modern Organa of any pretence to good qual-ity.Combination of stops is analagous with instrumentation incornposing for an orchestra. A complete orchestra is, as ourreade rs may be aw are of, composed of three different classes,(technical term-Quartettes of instruments, viz: stringedinstruments, w ooden wind ir~strum ents, nd brass instruments.All these instruments are fully represented in a well plannedand well voicedorgan.: the stringed instruments by the Violadi Gamba, Geigen-principal, Salicional ; the wooden windinstrum ents by all the varieties of Flutes, by the St op Diap a-son, Clarabella, Melodia, and by the reed stops, Hautboys,Clarionet, and Bassoon ; he brass instrumenb by the Trum-pet, 'l'roa~boneand the Clarion.Over and above all these stops, stands the crown of everyOrgan , unrepresented in the most com plete ro yal orches tras,

, the stop emphatically made to sound the glory of the Al-migh ty, and to penetra te to the innermost fibre of t he humanheart-'. The Open Diup ason.T o unite these ditieren t shade s of tone-qualities for pro-ducing certain desired effects, is the great secret of good corn-binations of stops. 'I'he main principles for good i nstrum en-la t~on ,may also be laid down for good combinations of stops ;lor, just as sure as a given passage would be of gre at effectwhen executed by stringed instruments, the same passage

O F STOPS.[Specification No. I ] of one Manual with nine stops, anaalso on an Organ [Specification No. 2.,] of two Manuals witntwenty-one Manual Stops.Th e grea t usefulness of the Stopped D iapason, being, aswill be seen, an essen tial ingredient of almost all the follow-ing combinations, is apparent, and we recommend to Organbuilders to voice it-as it ought to be, full, mellow, and free ofreediness, and we recomme nd it to O rganists, to use it ns amean9 of seasoning almost every combination.,List of combinations on the Manual, afforded by an O r ~ a nof nine Manual Stops. See Specification No. I.

1 Open Diapason alone.2. Opt% and Stop Diapa son3.-Dulciana and St op Diapason.4. Dulciana and Flute.5 Stop Diapason and F lute.6 Viola and St op Diapason.7 Stop Diapason, Dulciana and Flute.8. Open Diapason, Stop Iliapason and Flute.9 Open Diapason, Stop Diapason and Princi~al.10 Viola, Dulciana and Flu te.11 Viola, Sto p Diapason and Flute.12 Open Diapason, S top Diapason, Principal and Fifteenth.13 Open Diapason, Stop Diapason, Viola, and Principal.14 Open Diapason, Sto Diapason, Dulciana, Vlola Pr in -cipal, Flute and dfteenth.T o the la st combination may a t pleasure be added theTwelfth, or Twelfth and mixture.In giving these combinations we do not pretend to llavaexhausted all the resources, but merely to give a number oiuseful, judicious combinations.

SPECIFIC TIOX KO. 1O R G A N OF N I N E M A N U A L A N D O N E PEDAL STOPManual.

1 Open Diapason.2. St op L)iapason.3 Dulciana.4. Viola di Gamba.5 Flute.6 Principal.7 Fifteerltlt.8. Twelfth.9 Mixture.Pedal: Subbass.migh t become indifferent, or prove even a total failure, whenexecuted by wind instruments ; ust as senseless as it wouldbe to make Double Bass and Flute (without any other instru-Iilents,) perform a unison passage, (unless it be for tile sake

o oddness,) just as much out of good ta ste would it be todraw a sixteen-feet and a two-feet stop without any eight andiou r-feet stops.As general rules for good combinations, we therefore laydown the following 1 Draw for solemn passages fulltuned foundation stops, (forem ost Op. and St . Diap.,] forbrilliant passages add reed s or s mall stops, [Princip al Fif-teenth.] 2. When playing harmony, the predominant stopsare to be the eigltt feet j u e stops, to which, in order to in-crease the power, first the sm al le rj ue stops, then the reedr,and lastly the mutation, [T welfth] and compound stops are t obe added.

3 Double sto ps drawn for th e Manual, will require dis-persed harmony to be used.To go more into details, we give a comprehensive list ofdif fe~ ent onlbinations, which may be made on an O rgan.

SPECIFIC TION No.2O R G A N O F T W E N T Y - O N E M A N U A L A N D EIGHT P E D A L STOPS.Great Organ.1 Doub. Op. Diap. 16 feet.2. Op. Diap. 8 "3. St. Diap. 8 tone.4. Viola di Gamba 8 feet.5 Harmonic flute, 86 Trumpet, 8 "7 Principal, "8. Flute traverso, "9 Fifteenth, 210. Cornett, ranks, . "11 Mixture, 5 " 2 jSwell .12 Double St . Diap., 1 feet.13 Geigen Principal, 8 "

15 Dulciana, 8 feet16 Clarabella, 8 a17 Fagotto, and Oboe, 8 "18 Gemshorn,19 Flut e $amour, 4 "20. Flautino, 221 Mixture, anks, 2 "Pedal.22 Contrabasso, 32 feet23. Dolitle Op. Diap. 16 "24 Violonbass, 1625 Subbass, 1626 Trombone, 16 "27 Open Diap. Bass, 8 ',28. Violoncello, 8 614. SaliCional, 8 " 129 Flute Bass,


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.RMODERN SClIOOL FOR THE ORGAN.

Organa with tw o Manuals and complete P edal, becoming so genera lly in-troduced, we believe it to be of some service to students to enumerate herea number of characteristica lly di&rent combitlations, for prac tical use aswell as for modelsof further combinations. As formerly state d, (page 138) theresource for new combin ations with such a number of stops as Specifica tionNo. 2 presents is inexhaustible, and we limit ourselves, of course, only tosuch combinations s will be found musically correct, and which might bemade use of in divine service aswell q in concert playing.

Sop under Nos. 5 and 8. (P la dispersed harmon y, or play it as solo withd s . 1 5 and 16, as accompaniment. Pedal, 24and 27.)1 nd 4., play dispersed Harm ony, or as solo with acoom--animents.u * 6 1. 3 and 6. k r solos. accorn~anime ntwith stops 13 and

, and 16. ,Pedal, 32,23,27 .* 1 ,3 and 4 for cheerful solo strains, accompanied by 16,1 4 and 18. (Swell closed.) Ped al, 25 and 28.1

or obligato : 5 and 26.s l a n d 8 j -u a 1 2 and 3, for solemn strains in dispersed Harmon y, orfor solos, such s shown on page 13, (tune,Duke Street,) accompanied by 13 ,14 ,16 and-18 . Gre et Org. and Swell coupled together.Ped al, 22, 23, 24 and 27.E'or combina tions on the Sw ell alone, we recommend :Stops No. 13 alone1 4 alone for Adagios and similar music in close of dispersed13 and 16 Harmony. Pedal : 6 and 8 feet stops.14 and 1 611 6 a n d 1 8 for sweet Cantabile strains.15 and 19

for music of a somewhat mou rnhl character ; playdispersed Harmony. Pedal : 2 and 24.,, 16 and 7 will answer for harmonic play o r for solos, accom-

1 2 a n d 1 7 1panied6 feet ont o ~ s .r. Org. by 3 and 5 or 3 and 8. Pedal :If the stops are voiced hey k g h t to be, the above combinations willatford su5c1ent variety to answer almo st every case in church, and to agreat extent in concert playing.

Org \n of three manual^ with 40 M anual and11Pedal'Stops, (calculatedfor the want of Congreg ational singing.) Compsse of ManualmB6 n o t 4 of Pedals, 27 notee, begir+g with 0.

Great Organso lp s1. Donble Op. Diapason, 16 feet, two lowest octaves of zinc, balanceofr ichmetal - - 562. Op. Diap ason, 8 feet, lower octave of zinc, balance of ric h m etal 56

3. Stopped Diapason, 8 feet tone, of wood, 564. Vie nna Fl ute , 8 feet, of wood, 5C5. Vio la di Gamb a, 8 feet, lower psrt of zinc, balance of rich metal, 666. Tru mpet, 8 feet, shallots of zinc, reed and spr in g of brass, 567. Principal, 4 feet of metal, - - - - - - - 5 68:Rohrflute, 4 feet , of wood and me tal, - 569. Fugara, 4 feet, of rich metal,(Intonation of Op. Diap.)- - 5610. Clarion, 4 feet of zinc and braes-(like Tru mp et,) 5611. Fifteenth, 2 feet of metal, - . . . - - - 5 612. Twelfth, 2 feet, of metal, 5 613. Cornet, 554 feet, three ranks, lower octave of wood, balance ofmetal - - - 1 6 814. Mixtu re, 2 feet, four rank s, of metal. - - 22415. Super octave, 2 feet, of metal, - - - 5 6Choir Organ

16. Double St op Diapason, 16 feet tone, of wood, - 5 617. Op. Diapason, 8 feet (or Oeigen Principal 8 feet) of zinc and metal, 5618. Dolce, 8 feet, soft voiced, of metal, - - - - 5619. Flute, 8 feet, of wood, full and mellow voiced, - - - 5620. Cl ario nette , 8 feet, free reed-(tub es of zinc,) - - 6621. Sto p Diap., 8 foeb tone, of wood, - - 5 622. Har mo nica , 8 feet of wood, very soft voiced, - 5623. Flu te travers, 4 feet of wood, overblowing from C, - 5624. Gemshorn, 4 feet of m etal, - - - - 5625. Dolce, 4 feet (the octave of No. 18,) - - 5626. Piccolo, 2 feet of metal, (clear intonation,) 5627. Sesquialtera, 1 feet, 3 ranks, of metal, 168

Swell Organ28. Grand Bourdo n, 16 feet tone,of wood,29. Op. Diapas on 8 feet-(like No . 2.)30. Stop'd Diapason , 8 feet tone, of wood, -31. Salicional, 8 feet, lower octave of wood, balance of m etal,32. Hohlflute, 8 eet of wood and metal,33. Trum pet Harmonic, 8 feet soft Trum pet,) -34. Fag otto and Oboe, 8 feet o inc and brass3.5. Prin cipa l, 4 feet of metal, -36. Sp itz flute, 4 feet of metal, - - - -37. Fl ute d'Am our, 4 feet of wood,38. Flautino, 2 feet of metal, - -39. h'ssard (Twelfth) 2 feet of metal, .40. Mixtu re, 2 feet, 4 ranks, of metal,

Pedol41. Con tra Bamo, 32 feet of wood, 2742. Bom bardon, 32 feet, reed; 2743. Doub le Op. Diapason , 16 feet, of wood, - 2744. Violon Bass, 1 6 feet, of wood, - - 2745. Subbass, 16 foot-tone, of wood, 2746. Trombone, 16 h t , reed, (tubes or zinc,) 2747. S erpent, 16 foott one, (free reed of zinc and brass,) 2748. Trum pet, 8 feet, of zinc and brass, 2749. Octavbas s, 8 feet, of zinc, 2750, Violo ncello, 8 feet of wood, 2751. Flutebass, 4 feet of metal, - . - - 85Number of couplers to be 5.


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MODEKN SCIEOOL FOR TH ORGAN.6 PSALM b MARCELLO Arranged lar ih e Orgnm by J. Z

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BIODERN SCHOOL FOR THE ORGANPOSTLUDIO RIVE

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MANUALS

MODERN SCEfOOL FOR THE ORGAN

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t oderatoFull Organ.

POSTLUDIO

imslp39291-sibley1802.7163.12ad-39087009986433_zundel__pp101-150_.pdf

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