BYU ORGAN WORKSHOP 2019

ORGAN WORKSHOP CLASS DESCRIPTIONSWorkshop classes and events are described in detail below. Each one is intended for organists at a certain level of training orrange of levels. Decide which of the levels below describes your training most accurately, and then choose classes designedfor that level. If you intend to work through one of the BYU Independent Study Organ Courses (“levels”) in the monthsfollowing the workshop, you will benefit directly from classes that correspond with your level. Follow these links to see thelist of requirements for Levels 1-2 and Levels 3-6.Preparatory Level: a beginning level intended for completion during the workshop itself. This level applies the mainlistening skills used by organists in a single piece of music.*Level 1: beginning (Pianists with little or no formal organ training, or who need help in applying what they havelearned in their organ playing. No music theory prerequisites.)Level 2: review basics (Those with organ training, but who would benefit from a review of basic legato organ technique,repertoire, registration, hymn playing, and registration. Should be able to sight-read single-line melodies.Music Theory prerequisites: see Theory Requirements for Level 1).Level 3: early intermediate (Those with substantial training and fluency in legato organ technique, repertoire,registration, hymn playing, and registration. Should be able to sight-read two-part music. Music Theoryprerequisites: see Theory Requirements for Levels 1-2).Level 4: intermediate (Those with substantial training and fluency in legato organ technique, repertoire, registration,hymn playing, and registration. Have training in playing organ pieces in both legato and articulate styles.Should be able to play easy four-part vocal scores, to sight-read simple three- and four-part organ music andhymns, and to transpose hymn melodies (only) up to and including a major second up and down. Music Theoryprerequisites: see Theory Requirements for Levels 1-3).Level 5: early advanced (Those with substantial training and fluency in legato organ technique, repertoire, registration,hymn playing, registration, and in intermediate organ pieces in both legato and articulate styles. Should be ableto play moderately difficult four-part vocal scores and easy choir accompaniments, to sight-read moderatelydifficult four-part organ music and hymns, and to transpose simple hymns into all keys up to and including amajor second up and down. Music Theory prerequisites: see Theory Requirements for Levels 1-4).Level 6: advanced (Those with substantial training and fluency in legato organ technique, repertoire, registration, hymnplaying, registration, and in early advanced organ pieces in both legato and articulate styles. Should be able toplay more difficult four-part vocal scores and choir accompaniments, to sight-read more difficult four-partorgan music and hymns, and to transpose moderately difficult hymns into all keys up to and including a majorsecond up and down. Music Theory prerequisites: see Theory Requirements for Levels 1-5).Beyond Level 6: begin working on the professional certificates of the American Guild of Organists. Normally, theService Playing Certificate or Colleague Certificate would follow Level 6.* Classes and items marked with an asterisk (*) are of particular value to beginning organists. They make up a completecurriculum that is strongly recommended to those with keyboard training but little or no organ rkshop Seminar, Monday 3-6 p.m.TRACING THE HISTORY OF THE ORGAN IN THE UNITED STATES: FROM THE AMERICANCLASSIC ORGAN FORWARDThe European organ world had developed for centuries before any serious attempts to establish and “Americanorgan.” This presentation will touch on the highlights of organ developments in America since about 1930,including not only the pipe organ but the electronic (extending to digital and virtual) organ as well.ADAPTING PIANO ACCOMPANMENTS TO THE ORGAN“We’d like to have you play this at the organ for the choir piece.” When “this” is a piano accompaniment full ofarpeggios, rapid bass runs, thick chords, and octaves, what do you do? Find out in this session some of the bestways to deal with piano accompaniments at the organ.ADVANCED HYMN PLAYING TECHNIQUES (Levels 3-6)This course is intended for pianists or organists who have had substantial introductory organ training and whoare applying it in their hymn playing. The following topics will be covered:Rearranging Parts (soprano solo, tenor solo, alto up an octave, soprano/tenor switch, manual only)Nonharmonic TonesAn Introduction to Creative Introductions and InterludesAn Introduction to Free AccompanimentsBring a hymnbook and receive specific direction and ideas for the coming year's practice.Hymnbook required. Organ shoes recommended. Also recommended:Belnap, Parley L. Hymn Studies for Organists. Rev. ed. Provo, UT: BYU Creative Works Office, 1992/2004. Available at displays.Cook, Don. The OrganTutor Online Tutorial. Provo, UT: BYU Creative Works Office, 1998/2018.

Cook, Don, with contributions by Parley L. Belnap and Richard L. Elliott. The OrganTutor Workbook. ("OTW") Spanish Fork, UT:Ard Publications, n.d. (https://www.ardpublications.com/)36 u should be familiar with the concepts covered in Hymn Playing in the Sustained Style. Note: hymn registration is covered in anothercourse.AFTER LEVEL 6: FROM THEORY TO PRACTICE – CREATING HYMN PRELUDESOnce you learn the fundamentals of music theory, it is most satisfying to be able to apply them in building yourown musical creations! This three-part course is intended as a “clinic” for twelve individuals who want todevelop their skills in creating organ pieces based on hymn tunes. Bring one or more works that you havealready composed, or come ready to create your own hymn prelude during the week. The presenter is wellversed in composing hymn settings, with his works being widely published and appreciated. You should leavethe course with new tools to use as you create your own new music!Limited to 12 participants. Must be familiar with the concepts covered in Music Theory for the Organist Levels 1-6.ALWAYS BE WORKING ON A TRIO!This is one of the presenter’s "Top Ten Ways to Be a Better Organist." Organ trios are the definition of "soundseasy, plays hard." Their transparent nature and technical demands can take us from a current plateau to a newlevel of proficiency. We will take a tour of organ trios - from very easy to quite demanding.THE BENEFITS OF MEMORIZATION FOR THE ORGANISTWhile memorized performances are routine for the pianist, they are less so for the organist. While most organistsappreciate this, there is much to be gained from memorization. Learn the whys and hows during this valuablesession.THE BYU CONCERT, STUDIO, AND PRACTICE ORGANSYou will have access to some fine organs during this week, all housed within the Fine Arts Center. This sessionwill describe each of them along with their special features. (Door code: 3 3 3 3 3)THE BYU TRAVELING ORGAN WORKSHOPSBYU organ faculty and alumni have been traveling to many locations throughout the country (and in Canada)presenting multi-stake organ workshops. Attended by up to 312 organists, these Saturday-morning events cancome to your area, thanks to a large bequest by BYU Organ Department friend and benefactor Marjorie Volkel.Learn more about them in this workshop presented by BYU Traveling Organ Workshop Coordinator KymberlyPayne.COMFORT AT THE CONSOLEPlaying the organ involves the entire body and mind. This class will address physical aspects of playing theorgan. Learn how to achieve relaxed, pain-free technique. Topics covered will include posture,movement/gestures, stretching, tension/relaxation, and performance anxiety.CREATING PRELUDES FROM THE HYMNBOOKWe don’t have to be composers to create our own preludes. Learn how to build your musical offerings fromnonharmonic tones and other conventional musical devices. This session will present some great ways to addvariety and interest in your hymn-based preludes.EFFECTIVE PRACTICINGTemple Square Organist Bonnie Goodliffe shares some of her valuable insights into the secrets of effectiveorgan practice. If you take away only one new idea from this class, it will be well worth the time and effort –paying you back through better results after your practice sessions.ENGLISH ORGAN MUSIC ROMANTIC AND MODERNThere is a large body of organ music and a distinctive organ tradition connected with the cathedrals, churches,and colleges of London, Cambridge, and elsewhere in Great Britain. Learn about some composers and theiramazing organ works that might be completely new to you!FINDING EARLY-LEVEL PRELUDES AND POSTLUDESNow that you have accepted an opportunity to play for church, where can you find pieces to play before and afterthe service that won’t take six months to learn? There are many resources online and elsewhere to help you withthis quest – many of which will be revealed during this session.FINGER BUILDING FOR THE ORGANISTMost every organist can benefit by increasing finger strength, independence, and agility. Usually the piano’sweighty key action offers better results in a shorter period of time than does the organ’s key action. Gain someideas for technical exercises that can become a regular routine for an organist who wants to build the fingers.GETTING THROUGH SUNDAY MORNING: HYMN PLAYING SHORTCUTSMost of the training offered through this workshop centers around a polished approach to learning and playinghymns and organ pieces. But circumstances may arise that prevent you from spending the time necessary toreally polish those several hymns that you have to play on Sunday. This class will explore a few approaches(“shortcuts”) that might allow you to provide the necessary musical leadership with limited preparation time.GETTING THROUGH SUNDAY MORNING: PRELUDES AND POSTLUDES IN A PINCHMost of the training offered through this workshop centers around a polished approach to learning and playinghymns and organ pieces. But circumstances may arise that prevent you from spending the time necessary to

2-612-623-6121-2really polish several minutes of prelude and postlude for this Sunday. This class will explore a few approaches(“shortcuts”) that might allow you to provide those preludes and postludes with limited preparation time.GETTING STARTED AS AN ORGAN TEACHER: RESOURCES, QUESTIONS, AND ANSWERSWhether you are interested in simply helping someone along in their earliest beginnings at the organ, teaching amore advanced organist, or working with a group of organists at various levels, this session will give you someideas. Part of the session will be dedicated to answering specific questions that come from the participants.THE HISTORY OF ORGAN TEACHING IN THE CHURCH OF JESUS CHRISTMany organists in the Church of Jesus Christ trace their interest and training in the organ to names such as RoyDarley, J. J. Keeler, Bill Foxley, or to the twelve-week organ courses once offered in various states by ParleyBelnap and others. Learn about their contributions to organ performance and pedagogy (and those of manyothers), which laid the foundations to where we are today.HOW TO PLAY BACH’S GREATEST HITSLearn about editions and tips on playing some of J. S. Bach’s organ favorites such as “Sheep May Safely Graze,”“Jesu, Joy of Man's Desiring,” “Toccata and Fugue in D Minor,” “Arioso,” and “’Little’ Fugue in G Minor.”*HYMN PLAYING IN THE SUSTAINED STYLE (Levels 1-2)This course teaches how to learn hymns in the sustained legato style: evaluating the text, dealing with therepeated notes, planning fingering and pedaling, and practicing. In addition, this class touches on basicintroductions and interludes, and offers a few “shortcuts” to help you meet the immediate needs while you workon your long-term hymn-playing skills.It is intended for pianists or organists who have had little or no formal organ training or who need help inapplying that training in their hymn playing.Bring a hymnbook and receive specific direction and ideas for the coming year's practice.33-6Hymnbook required. Organ shoes recommended. Also recommended:Belnap, Parley L. Hymn Studies for Organists. Rev. ed. Provo, UT: BYU Creative Works Office, 1992/2004. These may be available atthe displays.Cook, Don. The OrganTutor Online Tutorial. Provo, UT: BYU Creative Works Office, 1998/2018.Cook, Don, with contributions by Parley L. Belnap and Richard L. Elliott. The OrganTutor Workbook. ("OTW") Spanish Fork, UT:Ard Publications, n.d. (https://www.ardpublications.com/)HYMN REGISTRATION FOR THE INTERMEDIATE TO THE ADVANCED ORGANIST (Levels 3-6)1. What are t

*Level 1: beginning (Pianists with little or no formal organ training, or who need help in applying what they have learned in their organ playing. No music theory prerequisites.) Level 2: review basics (Those with organ training, but who would benefit from a review of basic legato organ technique,