Teach The Organ

Teach the Organ!
A Handbook for Organ Teachers

“Each One Teach One”
When you get, give; when you learn, teach. – Maya Angelou
presenting
Discover the Basics® • Discover the Organ® • Organ Skills™
Annotated Performer’s Editions • Historical Organ Techniques and Repertoire
and
Student Recruitment Ideas
Wayne Leupold Editions, Inc.

8510 Triad Drive, Colfax, NC 27235 USA
Phone: 1-800-765-3196 or 1-336-996-8653 • Fax: 1-336-996-8445
Website: www.wayneleupold.com • Email: [email protected]
Fall 2013
Teaching Organ
Discover the Basics® Modern Keyboard Technique, Level 4 . . . . . . . . . . . . . . . . . . WL600123
A Beginning Series for Any Keyboard Instrument Christmas Season at the Organ . . . . . . . . . . . . . . . . . . . . . . . . WL600199
Easter and Pentecost Seasons at the Organ . . . . . . . . . . . . . . . WL600200
Book A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600092
Organ and One Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600201
Book B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600093
Book C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600094 Organ Skills™
Book D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600095 A Comprehensive Approach to Traditional Organ Teaching
Christmas Season (Beginning Level) . . . . . . . . . . . . . . . . . . WL600120 First Organ Book (third edition) . . . . . . . . . . . . . . . . . . . . . . WL600053
Discover the Organ® Easiest Hymns (second edition) . . . . . . . . . . . . . . . . . . . . . . WL600037
A Beginning Keyboard and Pedal Method for the Organ First Improvisation Book . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600143
Keyboard Practice Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL800007
Level 1 Introduction to Organ Playing in 17th- and 18th-Century Style
Basic Organ Repertoire, Series A . . . . . . . . . . . . . . . . . . . . . . WL600065 (second edition) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL500011
Modern Keyboard Technique . . . . . . . . . . . . . . . . . . . . . . . . . WL600084
Christmas Season at the Organ . . . . . . . . . . . . . . . . . . . . . . . . WL600110 Trios for the Organ (unfingered)
Repertoire with More Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . WL600223 by Richard Hudson
Pedal Primers, Volume 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600148 Trios for Organ
Easter and Pentecost Seasons at the Organ . . . . . . . . . . . . . . . WL600108 Volume 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600087
Organ and One Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600112 Volume 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600088
Hymn Trios for the New Organist
Level 2
Volume 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600034
Basic Organ Repertoire, Series A . . . . . . . . . . . . . . . . . . . . . . WL600069
Volume 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600045
Modern Keyboard Technique . . . . . . . . . . . . . . . . . . . . . . . . . WL600085
Volume 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600039
Repertoire with More Pedal, Level 2A . . . . . . . . . . . . . . . . . . WL600224
Volume 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600046
Repertoire with More Pedal, Level 2B . . . . . . . . . . . . . . . . . . WL600235
Pedal Primers, Volume 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600156 Trios for the Organ (fingered)
Christmas Season at the Organ . . . . . . . . . . . . . . . . . . . . . . . . WL600111 edited by Rollin Smith
Easter and Pentecost Seasons at the Organ . . . . . . . . . . . . . . . WL600109 Romantic Trios
Organ and One Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600113 Volume 1 (easy) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600227
Volume 2 (medium) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600236
Level 3
Volume 3 (difficult) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600237
Basic Organ Repertoire, Series A, Level 3A. . . . . . . . . . . . . . WL600073
Basic Organ Repertoire, Series A, Level 3B. . . . . . . . . . . . . . WL600144 Annotated Performer’s Editions
Modern Keyboard Technique, Level 3A. . . . . . . . . . . . . . . . . WL600086 No. 1, Johann Sebastian Bach (?):
Modern Keyboard Technique, Level 3B . . . . . . . . . . . . . . . . . WL600161 Eight Short Preludes and Fugues (BWV553–560). . . . . . . WL600024
Repertoire with More Pedal, Level 3A . . . . . . . . . . . . . . . . . . WL600225 No. 2, Léon Boëllmann: Suite Gothique. . . . . . . . . . . . . . . . WL600072
Repertoire with More Pedal, Level 3B . . . . . . . . . . . . . . . . . . WL600230
No. 3, Johann Sebastian Bach:
Pedal Primers, Volume 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600186
The Two-Part Inventions and the Four Duets. . . . . . . . . . . WL600050
Christmas Season at the Organ . . . . . . . . . . . . . . . . . . . . . . . . WL600130
Easter and Pentecost Seasons at the Organ . . . . . . . . . . . . . . . WL600131
No. 4, Louis-Nicolas Clérambault:
Organ and One Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600132 First Organ Book (Suites 1 & 2). . . . . . . . . . . . . . . . . . . . . WL600125
No. 5, An Introduction to the Organ Music
Level 4
of Louis Vierne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600210
Basic Organ Repertoire, Series A, Level 4A. . . . . . . . . . . . . . WL600099
No. 6, Girolamo Frescobaldi: Fiori Musicale (1635) . . . . . . WL500016
Basic Organ Repertoire, Series A, Level 4B. . . . . . . . . . . . . . WL600197
No. 8, Susanne van Soldt Klavierboek . . . . . . . . . . . . . . . . . WL600275
PedXTend® FREE NEWSLETTER

For young students with short legs, Historical Organ Techniques and Repertoire
PedXTend® raises the height of a Volume 1, Spain 1550–1830 . . . . . . . . . . . . . . . WL500004 Organ Discoveries™
pedal from 2-1/2" to 8-1/2", in one- Volume 2, J.S. Bach—Basic Organ Works . . . . WL500006 A free newsletter of Wayne Leupold
inch increments. Five-piece, wood Volume 3, Late-Medieval Before 1460 . . . . . . . WL500008 Editions, Inc., assists organ teach-
kit. For white or black pedals. Volume 4, England, 1660–1730 . . . . . . . . . . . . WL500010 ers in their work of developing the
Volume 5, England 1730–1830 . . . . . . . . . . . . . WL500005
skills and musicianship of organ
Volume 6, Italy, 1550–1660 . . . . . . . . . . . . . . . WL500007
students. Issues contain recruitment
Volume 7, England, 1550–1660 . . . . . . . . . . . . WL500012
Volume 8, Italy, 1725–1830 . . . . . . . . . . . . . . . WL500013
ideas, teaching advice, listing of the
Volume 9, Renaissance, 1500–1550 . . . . . . . . . WL500009 latest and most progressive organ
Volume 10, Italy, 1660–1725 . . . . . . . . . . . . . . WL500015 teaching materials, notices of work-
Volume 11, Netherlands 1575–1700 . . . . . . . . . WL500018 shops and exhibits, and biographical
information of organ composers.
For a free subscription, please con-
WLPX0001 Wayne Leupold Editions, Inc. tact Wayne Leupold Editions, Inc.
8510 Triad Drive, Colfax, NC 27235 USA
Phone: 1-800-765-3196 or 1-336-996-8653 • Fax: 1-336-996-8445
Website: www.wayneleupold.com • Email: [email protected]
Contents
Teaching Recruiting
Our Philosophy of Teaching the Organ. . . . . . . . . . . . . . . . . . . . . . . . 1 Organ Demonstrators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Teacher Assistance Hotline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Organ Activity-Educators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Discover the Basics® . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 The Organist’s Assistant Program
Advice for Parents and Teachers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 (third- through sixth-grade student recruitment) . . . . . . . . . . . . . 14
Technical Levels Curriculum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Starting an Organ Academy in Your Local Church . . . . . . . . . . . . . 20
Using Discover the Basics® with Very Young Children . . . . . . . . . . 5 Planting the Seeds for Organ Study: The Task Is Yours! . . . . . . . . . 28
Discover the Organ® . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 The DemoInfo Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Organ Skills™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Marygrove College Presents a DemoInfo Program . . . . . . . . . . . . . 35
Annotated Performer’s Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Developing a Second-Hand Electronic Organ Clearing House . . . . 37
Historical Organ Techniques and Repertoire . . . . . . . . . . . . . . . . . . 11 Purchasing
Effective Practicing Skills. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Free Newsletter Organ Discoveries™. . . . . . . . . . . . . . . . . . . . . . . . 39
Order Blank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
New Release Club for Organ Teachers . . . . . . . 41 (inside back cover)
Standing Order Offer. . . . . . . . . . . . . . . . . . . . . 41 (inside back cover)
Our Philosophy of Teaching the Organ

by Wayne Leupold
Many young people find the organ fascinating, with all its instrument of those times was the clavichord, whose touch
keyboards, pedals, buttons, stop knobs, and multiple sounds. is lighter than any electronic keyboard instrument avail-
Children can become interested in the organ through expo- able today. So, clearly, a good keyboard technique can be
sure in their church services, demonstrations by the church developed on a light keyboard action. What is important is
organist, and different types of events presented by AGO a solid and comprehensive curriculum of technical studies
chapters or other groups of interested individuals. When and scales such as are found in our comprehensive series,
such interest is awakened, there should be an immediate fol- Modern Keyboard Technique.
low-up by getting them on organ benches, using publications
For the organ to remain the principal instrument in the
from Discover the Organ®, studying and playing the organ
church, we must train more organists. To accomplish this, we
at whatever keyboard level they are. If they have no keyboard
must first expose the organ to more young people and, sec-
experience, start them on the organ from the very beginning
ond, begin to teach the organ to children at much earlier ages
of their study, using Discover the Basics® books. Now there
than previously has been done. There is no reason why young
is a method available that can develop a child’s keyboard
children cannot begin both their musical education and the
ability on the organ from the very beginning of his/her study
development of their keyboard skills at the organ. Let’s have
of music. (Other instruments also could be studied simulta-
more children Discover the Organ®!
neously, if desired.)
Wayne Leupold Editions, Inc., with its various series of or-
Some organists think that students should not begin the study
gan-teaching publications, offers a thorough pedagogical ap-
of the organ until they have had a number of years of piano
proach to the teaching of the keyboard at the organ at all
study to first develop a basic keyboard technique. History
levels: (1) from a very first keyboard lesson (Discover the
clearly shows us that this is not necessary. What organist who
Basics®) through second- through sixth-year keyboard study
lived prior to 1800 ever played the pianoforte before begin-
(Discover the Organ®); (2) from an intermediate level (third
ning organ study? Obviously no organists of the seventeenth
or fourth year) pianist’s first organ lesson (Organ Skills™)
and eighteenth centuries ever studied the pianoforte. But, yet,
through highly advanced organ techniques (also Organ
many fine keyboardists and organists existed in those centu-
Skills™); and (3) a comprehensive approach to the histori-
ries. How, then, did they develop keyboard technique? The
cal techniques and performance practices of each national
harpsichord was an expensive instrument usually only found
school within each historical period (Annotated Performer’s
in the homes of the wealthy. The common practice keyboard
Editions and Historical Organ Techniques and Repertoire).
Teacher Assistance Hotline

1-800-765-3196 (afternoons, eastern time)
If a teacher encounters a problem when teaching an organ student, he/she
may talk with Wayne Leupold for a free consultation. Call the 800 number
above and ask to speak to Wayne.
© 2013 by Wayne Leupold Editions, Inc. Page 1

Discover the Basics®
(first year of keyboard study, a primer series)
by Wayne Leupold
Flexibility of Usage playing. Book D introduces the intervals of sixths, sevenths,
Discover the Basics®, co-edited by Wayne Leupold and Lucy and eighths; more expanded two-part playing; and the begin-
G. Ingram, is a beginning series (a first year, primer series) ning playing of three very easy simultaneous parts. It also
for any keyboard instrument. It is designed to be very flexible emphasizes note spelling. Many pieces have optional pedal
and may be used in a variety of different ways: points, and approximately 70 percent of the compositions in
all four books have a duet part for the teacher to play. The
1. It can be the method for a student beginning keyboard many duets allow the student to have live ensemble experi-
study exclusively on the organ. No other supplementary ences with the teacher at each lesson. If played on the piano,
piano materials will be needed. some of the duet parts for the teacher my have to be played an
2. It can be the method for a student beginning keyboard octave higher or lower than written. Folk songs and spirituals
study exclusively on the piano, with no interest in ever from many different countries and cultures are used exten-
playing the organ. In such a situation, the explanations sively throughout the four books.
about the organ sounds, registration suggestions, and Upon completion of Book D, the student progresses to
suggestions for optional pedal points can be ignored. Discover the Organ® in the various series of Level 1 (Basic
3. This series also can be used in an approach of blend- Organ Repertoire, Modern Keyboard Technique, Christmas
ing the initial teaching of the keyboard between both the Season at the Organ, Easter and Pentecost Seasons at the
piano and the organ. In such a situation, the student can Organ, and Organ and One Instrument). The first two are
use a piano for daily practice and can take his/her weekly considered basic series, while the remaining three are supple-
lesson on a piano. However, in addition, the teacher also mental. The levels 1 through 4 of the Discover the Organ®
may take the student to an organ during the weekly lesson, method roughly parallel the technical-difficulty levels of the
where he/she again may play some or all of the assigned Bastian Piano Literature Series, volumes 1–4.
pieces on the organ, using the suggested registrations and
Different Beginning Books for Different Ages
pedal points for the feet. Because of the thoroughness of
the Discover the Basics® series, a separate piano primer Book A is for the young beginner—third through fifth
series is not necessary. A student could continue this si- grades—and it can be used with students a little younger
multaneous study of both instruments indefinitely. When (second grade) or older (sixth grade). The middle-school
the student has finished the Discover the Basics® series (seventh and eighth grades), high-school, or adult beginner
and has progressed to the Level 1 books of Discover the should begin in Book B. Book B can also be used for begin-
Organ® for continued organ study (see below), he/she ning class keyboard courses.
also could progress into any standard classical piano lit- Book A also has proven to be successful even with very
erature series for continued piano study. This approach young children (four to seven years old). For a discussion
would give the student the exposure to and advantages of of successful teaching technique with this age group, see
both keyboard instruments. “Using Discover the Basics® with Very Young Children,” by
The profound advantage of the first and third approaches, Katherine Crozier (on page 5).
from the perspective of the organ, is that more students will Graded Order
be exposed to the organ much earlier in their educational ex- The compositions have been carefully graded. There are no
perience than traditionally has been done. We hope, in the annoying leaps of technical difficulty from any one piece to
long term, that this approach will generate more interest in the next. Therefore, after only a very few lessons, the teacher
the organ among more young students, who then will contin- can evaluate the student to determine how many lines of mu-
ue to study the organ and eventually become active organists sic he/she can comfortably master each week.
(amateurs and/or professionals) and church musicians.
Amount of Music in Assignments
Organization
As the student progresses through the four books, the teacher
Discover the Basics® utilizes an intervallic approach to read- from time to time may have to reassess the amount of mu-
ing music and consists of four successive books (A, B, C, and sic included in each weekly assignment. In determining how
D). Each book is complete in itself, in that it contains les- many lines of music should be assigned each week, count all
sons, theory, repertoire, and technique materials, therefore the rhythmic drills on the Writing Pages at the end of each
eliminating the need to buy multiple books for each level. unit as one line of music. As the compositions become longer
Book A introduces intervals up to and including fifths. Book (two, three, or four lines of music), always count the lines
B reinforces these intervals within the context of the grand of music and not the number of pieces when computing the
staff. Book C presents eighth notes and beginning two-part weekly assignments.
Page 2 © 2013 by Wayne Leupold Editions, Inc.
Discover the Basics® Book A, page 3
ADVICE FOR PARENTS AND TEACHERS
1. PRACTICE INSTRUMENTS
For the first three or four years of study, students may use any keyboard instrument (piano, electronic
keyboard, or any kind of organ) as their daily practice instrument. If an electronic organ or keyboard is
used, weighted keyboards are recommended.
2. INTERVALLIC READING
Discover the Basics®Advice
utilizes an intervallic
for Parents approach to reading music. This is the quickest and most
and Teachers
thorough way of learning to read music. Each new note is determined by recognizing its distance from
the preceding note. Gradually, the names of all the lines and spaces are learned. Book D and the
Theory and Improvisation series reinforce the basics of note spelling.
3. KEYBOARD: LOCATION, HEIGHT, AND LIGHTING

Place the practice keyboard in a well-lit, quiet place, free from distractions. Adjust the seat level so that
the elbows are slightly higher than the keyboard.
4. PRACTICE TIME AND SUPERVISION

Set aside a specific time each day for practice so that it becomes a habit. At the start, the parent is
encouraged to supervise the practice to make sure the time is used efficiently and effectively.
5. LEARNING SUGGESTIONS
a. Pay strict attention to counting aloud so the rhythm is kept even. The parent may assist at
times.
b. Keep eyes fixed on the music at all times to avoid losing one’s place. Always look ahead to
see what is coming.
c. New compositions are to be explained thoroughly at the lesson. The teacher or parent
should not play compositions for the student before they are learned. This will help the student learn
to read rather than playing by ear.
d. When an incorrect note is played, have the student determine the correct interval from the
previous note, not the name of the correct note.
6. COORDINATING PLAYING AND WRITTEN WORK

If the student is assigned only part of a unit, a portion of the written work at the end of that unit also
is to be assigned.
7. WRITTEN WORK
Some of the assigned written work should be done every day so that the concepts are reinforced on a
regular basis.
8. COLOR
The student may color the drawings, if there is a desire to add color to the pages throughout this series
of books. Coloring the drawings also will encourage the student to become more involved with them,
with what they are teaching, and will give to the student a greater sense of ownership of the books and
the educational material.
9. DUETS
If duets are played on a piano, some of the student parts will have to be played an octave higher or
lower than written.
10. POSITIVE REINFORCEMENT

A music student needs positive reinforcement. Take the student to recitals and provide every opportunity
for him/her to realize what can be done with consistent practice. The music student needs musical role
models (“heroes” and “stars”) similar to those found in other areas of our culture.
11. PARENTAL INTEREST

Show a sincere interest in the student’s musical study, such as enthusiasm when a composition that gave
trouble is mastered, or when the student plays in public. A few sincere and enthusiastic compliments
will do so very much!
WL600092 3

Technical Levels Curriculum
A Beginning Series for Any Keyboard Instrument
The first-year materials, Discover the Basics®: A Beginning Series for Any
THE BASICS® Keyboard Instrument, comprise four successive books (A, B, C, and D).
A B C D
grand staff, middle C, treble C, high C, low C, 6ths, hand shifts
CDE, hand position, , bar  (in groups of 2, 4, 6, or 8),
, , 1st and 2nd endings 
bass C, 2nds, slurs of a 4th, C’s
lines
,   , key signatures, thumb
a 2nd above C guide notes,
2nds,  repeat sign
, ,  in triplet counting,
FGAB, finger numbers, staccato extension, D’s
a 2nd below C guide notes,
repeated notes upbeat half and whole steps,
 3rds, a 3rd above C guide notes, major five-finger patterns, fifth finger extension, hand
shifts of a 5th, B’s
2nd finger over the thumb, ,
3rds transposing
, 8va, 8ba
8va, 8ba
a 3rd below C guide notes, tie 5ths as accompaniments, tempo 
 
4ths 4ths, a 4th above C guide notes, marks, hand shifts of a 2nd   , hand shifts of a
 , upbeat form minor five-finger patterns,
a 4th below C guide notes,  , 
6th, E’s
5ths interior repeat signs

7ths, 3rd finger over the thumb,
five line staff, , , ledger 5ths, a 5th above C guide notes, chords, hand shifts of a 3rd
 ,  , , hand shifts of a
lines  ,  , accompanying with tonic
a 5th below C guide notes,  , 
7th, A’s
grand staff, middle C, treble C, and dominant
bass C, , 
thumb crossing under, Key of C
relating all notes to C guide review of notes and rests
Major, 3rd pedal staff, F’s
Key of G Major, 8ths, ,
notes; ledger lines around
middle C; ’s, ’s, ’s lasting
hand shifts of an 8th, G’s
through a measure; review
4th finger over thumb, Key of
of notes and rests; review of
accidentals (’s, ’s, ’s)
F Major, rit., a tempo, strong
and weak beats, syncopation,
crossing hands
D.C. al Fine, , skipping
fingers
A Beginning Keyboard and Pedal Method for the Organ
Upon completion of Book D of Discover the Basics®, the student

progresses into the various series of Level 1 of Discover the Organ®.
THE ORGAN® Levels 2, 3, 4, and 5 include all concepts introduced in previous levels.
Level 1 Level 2 Level 3 Levels 4 & 5
Texture two voices, one per hand two or three voices two or three voice chords any texture
in one hand
Technique five-finger hand positions single-finger substitution; finger & thumb glissando; double-finger substitution
with some shifts shifts in both hands; scale Alberti basses; double in both hands; arpeggios
patterns; broken-chord finger substitution in one
figurations within an hand
octave; scales
Touches pure legato; staccato (1/2 more subtle touches any touch
value only)
 any note value
,  , , , , ,   
Note Values
  

Time Signatures   any time signature any time signature
up to and including 2 ’s up to and including 3 ’s up to and including 4 ’s
or 2 ’s or 3 ’s or 4 ’s
Key Signatures
Ornaments mordent (); single trill (, ) any ornament

appoggiatura

Teaching the Intervals er should discuss these problem areas with the student before
Discover the Basics® utilizes an intervallic approach to read- he/she starts to learn the piece.
ing music. This is the quickest and most thorough way of Additional Information
learning to read music. Each new note is determined by rec-
All the compositions in the entire Discover the Basics® se-
ognizing its distance from the preceding note. The student
ries and the Discover the Organ® method are carefully edited
should not think the name of each successive note, but the
and fingered. The inside back cover of each volume contains
distance each successive note is from the previous note. If the
a registration information page that presents an explanation
student plays a wrong note, never ask the student to name the
of the different pitches of organ pipes and lists of the names
correct note. Instead, ask the student how far the new note
most commonly used for the four families of organ tone.
is from the previous one that was played correctly (second,
Practice suggestions appear throughout the beginning series
third, fouth, fifth, etc.). Gradually, in Book D, all the lines
(Discover the Basics®) and the Discover the Organ® multiple
and spaces are named and learned.
series. Although primarily included to help students develop
Advice for Parents and Teachers effective learning habits, practice suggestions also have been
The teacher, student, and parents should carefully read page provided to assist any teachers who have had little or no pre-
3 in Book A, which discusses many aspects of the student’s vious teaching experience.
success at the keyboard. It is reproduced on page 3. General Musical Knowledge
Practice Suggestions Several distinctive features with many illustrations broaden
In the first unit of each book, there is a box suggesting how to the student’s general musical knowledge: (1) a brief history
practice. Each time this box appears, read it through with the of the organ at the beginning of Book C; (2) a brief history of
student and stress the number of daily repetitions suggested stringed keyboard instruments (clavichord, harpsichord, and
for each line. Note how the recommended number of repeti- piano) at the beginning of Book D; and (3) brief biographical
tions increases in each successive book (two or three times sketches of composers, throughout books B, C, and D, who
in Book A, three or four times in Book B, four or five times significantly contributed to the organ, piano, and harpsichord
in Book C, and five or six times in Book D). Practice sugges- literature.
tions appear throughout the four books and assist the student Practice Instruments
in developing good practice habits.
When the student is working in the Discover the Basics®
Stop/Look Sign books, he/she may use any keyboard instrument (piano, elec-
STOP The Stop/Look sign is used to point out certain tronic keyboard, or any kind of organ) as his/her daily prac-
places in some pieces where the student could tice instrument. If an electronic organ or keyboard is used, a
make a mistake and learn the music incorrectly weighted keyboard is recommended.
if he/she is not paying close attention. The teach-
LOOK
Using Discover the Basics® with Very Young Children
by Katherine Crosier (Honolulu, Hawaii)
A four-year-old organist? Impossible, you say. With the aid The First Lesson
of Wayne Leupold’s Discover the Basics®, it has not only From the beginning, I insisted that Nathalie’s mother accom-
become a reality, but an enjoyable experience for both pany her to the lesson, which I predetermined would last fif-
teacher, parents, and student. It is all the more remarkable teen minutes each time. When teaching very young children,
considering that the young student did not yet know how to one of the most important aspects is the day-to-day parental
read (words) and did not know how to write all the letters of supervision and guidance. Luckily Nathalie’s mother already
the alphabet. reads music and plays the piano. In our church we are fortu-
In the fall of 2003, a member of my church choir approached nate to have not only a beautiful tracker organ, but also an
me about teaching her four-year-old daughter, Nathalie. I adjustable bench! We cranked up the bench all the way to the
found out only recently that her interest in the organ was top so that Nathalie could sit comfortably at the keyboard.
sparked by the performance of another of my students, an Since the church organ has a reverse color keyboard (natu-
11-year-old boy who had taught himself how to play Bach’s rals are black; sharps and flats are white), I knew that right
Toccata and Fugue in D minor by downloading the music away I would have to address the issue since the student’s
off the Internet! (But that’s another story!) As I had used practice keyboard was opposite, the more traditional white
Discover the Basics already for about three years, I knew naturals and black accidentals. So my very first question
teaching organ to a very young child was a possibility, al- was, “What color is this?” pointing to one of the black keys.
though to date my youngest student started at age seven. Then, “What color is this?” pointing to one of the white keys.
Then I pointed to one of the stop knobs, which are white, We had the book on the organ, but it was mostly for the ben-
and posed the same question. She was able to answer “black” efit of Nathalie’s mom and me, since I knew Nathalie didn’t
correctly when I pointed to the coupler knobs. We got off the read, nor did I want to push her into it. I found out that three
organ bench and went to the piano to discover an opposite pieces was about her limit, and I encouraged her mother to
color scheme for the keys. I explained that her home practice spend about five to 10 minutes a day working on them.
instrument was going to be like the piano, but on the organ,
Each piece was not merely played. Right from the beginning,
the colors were reversed.
I had Nathalie either sing the counts or sing the letter names
Then it was back to the organ. I found out right away with a of the notes as she played along.
preschooler you need to keep things moving because of the
One innovative and unusual aspect of Discover the Basics I
short attention span. I kept thinking of the fast pace of chil-
really like is the use of duets on nearly every piece. Not only
dren’s television programs such as Sesame Street.
does this make the pieces more interesting, but it also forces
Next we counted the accidentals, as I played them for her the student to count and play correctly. Nathalie was ex-
starting at the lowest part of the keyboard and going all the tremely reluctant to play the duets with me for the first three
way to the top (C#, D#, F#, G#, A#): 1-2, 1-2-3, 1-2, 1-2-3, months, so what I did was have her mom play the piece with
etc. We did this exercise over and over, as I pulled out indi- me, with Nathalie’s hands resting lightly on top of hers. That
vidual stops at 8', 4', 2', 16' (on flute, principal, reed, etc.) and way she would have some idea of what she was supposed
I asked her how the color of the sound was different (soft, to do and could hear how the piece sounded. Gradually she
loud, high, low, etc.). was able to play the duets with me, and it was truly thrilling
when it happened.
Then I asked her to sing with me the alphabet song (A, B, C,
D, E, F, G, etc.—sung to the tune “Twinkle, Twinkle Little Another aspect of teaching a young child the organ from the
Star”). I decided right from the beginning that I would incor- beginning is the discussion of the different stops and their
porate singing into the lesson. She knew the song, as do most tone colors. I’m sure that Nathalie cannot read the German
preschoolers, and I accompanied us as we all sang together nomenclature on our church organ, yet I can tell her, “Pull
(mother, too). out the 8' Principal,” or ask, “Where are the 8' and 4' flutes?”
and she can pull them correctly. She loves pulling the 4' and
The last thing I showed her at this first lesson was how to
2' flutes and calls them the “mouse” stops.
find C-D-E on the keyboard, right underneath the group of
two accidentals. I played C-D-E from the bottom of the Summertime
keyboard to the top, as I sang “C,”, “D”, “E” for each set We had several weeks of no lessons due to vacation sched-
of three. When I asked her to play C-D-E, she was very ules, but there’s definitely been a change in Nathalie’s devel-
reluctant, and even said to me, “I don’t want to.” So I asked opment. By this time she has finished Book A (it has taken
her mother if she could help her through the week to find and nearly six months) and is starting into Book B. It comes at a
play C-D-E on their keyboard at home, singing “C,” “D,” “E” time when her mother is anticipating the birth of her third
while playing. child and Nathalie is brought to the lesson by her grandmoth-
The whole lesson lasted all of fifteen minutes, but it seemed er. She has come to her lesson perfectly prepared to play her
like an eternity! I asked her mother if she could spend just 5 three pieces, and each one is perfect in its accuracy, phras-
minutes a day reviewing what we had covered today, espe- ing, and rhythm. These were all factors that we worked on
cially looking for and playing C-D-E from the bottom of the diligently in the months before, especially the counting and
keyboard to the top. I did give her Book A of Discover the the legato. I can attribute this to Nathalie’s mother working
Basics®, even though we had not even opened the book at the with her every day, even though she has not come to the les-
lesson yet. sons. Nathalie’s mother tells me that Nathalie loves to prac-
tice now. It has also made a big difference that the little sister
The Next Three Months was not in tow, since she was often a distraction.
It was at the very next lesson that we actually opened Book
After some experimentation, I have come to the conclusion
A and began the first exercises. First we reviewed and re-
that children should have a goal to practice each piece five
peated everything that we had done at the first lesson. Then
times every session. I shared this with Nathalie’s mother,
I played the very first piece, singing and counting along. I
and she said this has made a huge difference. Five was a
then told her, “Now it’s your turn, Nathalie.” She then said, “I
good number, since Nathalie just had her fifth birthday. In
don’t want to.” Those first few months were the hardest, and
the beginning it would take Nathalie up to thirty minutes to
it took much coaxing and cajoling to get her to play. Every
complete the five repetitions (of the three pieces). Then she
time I would play and demonstrate then ask her to copy me,
learned that if she did each piece five times in succession,
she would say, “I don’t want to.” After about three tries, she
one after another, her practice session would be a lot shorter,
would finally do it, and I was very intentional about praising
and she could go outside and play.
her for her efforts.

At each lesson, Nathalie plays the three pieces that she has for breathing problems. When she came to her next lesson I
practiced all week, then we spend the rest of the time look- realized that she was not looking at the score, but rather was
ing at three new pieces. I’m also discovering that Nathalie looking down at her hands. She did play the music without
can truly sight-read by actually looking at the intervals, and any errors, so I asked her if she had memorized the music,
I’m really, really pleased. She is not just learning the mu- and she said she had. She told me that she was able to memo-
sic by rote, but is actually reading the intervals. When we rize the music “because it was so easy.” This development
first look at a new piece, the first task we do is circle all the is at once exciting and a little unsettling. I’m thinking that
C guide notes, then find out where the starting note is in perhaps now I ought to be assigning more pieces, so that she
relation to the C guide note. I don’t hesitate to write out actually reads the music rather than relying upon her ear.
many of the counts and the letter name of just the starting
Well on the Way
note in the score.
It is now the summer of 2005 and Nathalie is almost finished
November with Book C. At her last lesson, she asked when she could
It’s the first time that Nathalie’s dad has brought her to the play in church again! I am pleased that she is definitely read-
lesson since her mom has just had a baby. He has never heard ing notes and rhythms and can sight-read at six years old.
her play before, and he is delighted to hear her play the big More importantly, it’s obvious that she has fun while playing
organ. “It blows my mind to see her read and play music, the organ and it brings her much joy, as well as to her parents
since I know she doesn’t read words yet,” he says. and her teacher.
A Milestone Editor’s Note
It’s the week before Christmas, and Nathalie has been asked Rote Teaching versus Teaching Reading. The ability to
to take part in the children’s Christmas service, along with read music well and sight-read quickly are very important
other children her age who are learning to play musical in- skills for an organist, probably more so than for any other
struments. After a little reluctance, she finally decided to musician. The advantage of Discover the Basics® over any
play a piece from Book A: “Ode to Joy.” Her mother points beginning rote teaching method, even with very young chil-
out to me that it looks funny to go back to reading a three- dren, is that reading skills are developed in tandem with
line staff now that Nathalie has graduated to the grand staff. playing skills. Thus there will be no difficult period of time
She will also play one of her newer pieces from Book B. in a student’s development when the student becomes frus-
Nathalie and I played “Ode to Joy” as a duet, then all of a trated because he/she has to transition from playing by rote
sudden she said to me, “You know, I can start this piece on to engaging the eyes and mind in reading. This is the point
‘E’ instead of ‘B.’ Then she proceeded to transpose the piece at which a teacher often loses students who began with a rote
down a fifth, which works of course. I asked her, “Did you approach. Also, a student who learns music reading from the
find out you could do this, or did your mom show you?” She beginning has skills that he/she can apply to any piece of mu-
answered that she had discovered it, all by herself. I was truly sic, no matter when that student stops studying. On the other
astounded by this development, as I had never talked to her hand, a student who learns by rote and stops studying before
about transposing. developing strong reading skills will have trouble working
on music on his/her own—a loss, considering all the time
Another New Development
and money that had been spent!
In March, Nathalie missed a lesson around her sixth birthday
because her new baby sister had to be taken to the hospital
Discover the Organ®

(second through fourth years of keyboard study)
by Wayne Leupold
Organization Basic Series
Discover the Organ®, a beginning keyboard and pedal meth- The Basic Organ Repertoire series, Levels 1, 2, 3A, and
od for the organ, begins with Level 1, which is a second-year 3B, co-edited by Wayne Leupold and Naomi Rowley, con-
keyboard level. Currently, the Discover the Organ® method tains both free compositions and pieces based on well-
has four different levels. Each level corresponds respectively, known hymn tunes and spirituals. Many different cul-
with regard to technical difficulty, to volumes one, two, three, tures are represented, including Early American, African
and four of the Bastien Piano Literature Series. Within each American, Native American, Hispanic, Jewish, and Asian,
level of Discover the Organ®, there are five different series. as well as many European countries. Over one hundred
Because of the thoroughness of this method (with two basic composers are represented in this series. Among the liv-
series and three supplementary series), no additional supple- ing composers represented are Michael Burkhardt, David
mentary piano materials are needed. The five series are: Cherwien, Emma Lou Diemer, Alfred V. Fedak, Wilbur

Held, Dan Locklair, Austin Lovelace, Robert J. Powell, cluded are easy arrangements and transcriptions of com-
and Larry Visser. positions all organists play, such as J. Clarke’s The Prince
The Modern Keyboard Technique series, edited by Wayne of Denmark’s March and H. Purcell’s Trumpet Tune.
Leupold, is intended to develop a solid keyboard tech- The Organ and One Instrument series, arranged by Allan
nique on the organ. This series contains legato “organ” Mahnke and edited by Wayne Leupold, provides an en-
exercises, exercises by Hanon and Czerny, and scales and semble experience for the young organ student. Many of
arpeggios. A unique feature of the legato exercises is the the compositions are based on well-known hymn tunes.
grouping of musical compositions after each exercise that The instrumental parts, in both the C and B-flat versions,
emphasize within a musical context the specific techni- are of a comparable or easier level for the instrumentalist.
cal feature presented in that exercise. Because of the thor-
Students find the pieces in the Christmas and the Easter
oughness of these technique books, no additional piano
and Pentecost series especially rewarding and motivating!
technical materials are needed.
To develop a comprehensive and solid keyboard technique, Ordered According to Difficulty
it is very important that the student work weekly on at least All the compositions in the Basic Organ Repertoire, Christmas
one exercise or composition and one scale and arpeggio (be- Season at the Organ, Easter and Pentecost Seasons at the
ginning with Level 2) in the Modern Keyboard Technique Organ, and Organ and One Instrument series are arranged
series, as well as at least one composition in the Basic Organ in a graded order of difficulty. The easiest pieces are always
Repertoire series. Do not neglect the technical work! This at the beginning of each volume, and the most difficult pieces
cannot be overemphasized! For the continued development are at the end. Therefore, the student should begin at the be-
of manual technique, the student should always be working ginning of each book and progressively work through it.
in one of the volumes of this technique series until he/she Editing
has completed level 5.
All the compositions in the entire Discover the Organ®
Repertoire with More Pedal, edited by Wayne Leupold, method are carefully edited and fingered. The inside back
is a series of repertoire volumes containing compositions cover of each volume contains a registration information
with more pedal activity than the compositions in the Basic page that presents an explanation of the different pitches of
Organ Repertoire series. In each level of Repertoire with organ pipes and lists of the names most commonly used for
More Pedal, the volume(s) are collated with the series Pedal the four families of organ tone. Practice suggestions, in addi-
Primers, also edited by Wayne Leupold, a three-volume set tion to appearing throughout the beginning series (Discover
designed as a first introduction to developing a thorough le- the Basics®) and the Basic Organ Repertoire® series, also
gato pedal technique. Due to the collation of these volumes, are in all the other series. Although primarily included to
the student may begin with volume 1 of the Pedal Primers help students develop effective learning habits, practice sug-
while simultaneously working in level one of the Repertoire gestions also have been provided to assist any teachers who
with More Pedal series or any other level one books in the have had little or no previous teaching experience.
Discover the Organ® method. Both the Repertoire with
More Pedal and Pedal Primers are intended for students Simultaneous Piano Study
who can practice on a full, 32 note pedalboard on a regu- A piano student may begin simultaneous study with this organ
lar basis. The compositions in Repertoire with More Pedal method at any time or switch over to this method from piano
and Pedal Primers have pedal parts that are organized into study at any level. If the student has been studying both the pia-
specific five-note pedal ranges or pentads. When both se- no and the organ in Discover the Basics® when he/she progress-
ries are used together, the student begins to develop a solid es to Level 1 of Discover the Organ®, to continue the study of
comprehensive legato pedal technique. both, all that is necessary in addition to the Level 1 organ books
Supplemental Series (see below) is a piano literature book at the appropriate level.
The Christmas Season at the Organ series, arranged by Practice Suggestions
Alfred V. Fedak and edited by Wayne Leupold, contains Throughout all the books in all five series there are many
carols, hymn tunes, and other seasonal melodies associ- practice suggestions, placed above the first line of music
ated with Advent, Christmas, and Epiphany. Each volume of each composition, which are intended for both the stu-
also includes a preface explaining these seasons. dent and the inexperienced teacher. These practice sugges-
The Easter and Pentecost Seasons at the Organ series, tions are comprehensive enough so that, while progressing
also arranged by Alfred V. Fedak and edited by Wayne through the materials, a beginning teacher will easily learn
Leupold, contains hymn tunes and other melodies as- how to teach, as the student learns how to play.
sociated with Lent, Palm Sunday, Holy Week, Easter,
Consecutive Perfect Repetitions
Ascension, Pentecost, Trinity, Reformation, All Saints,
When the teacher thinks the student has enough matu-
Thanksgiving, weddings, funerals, Communion, bap-
rity and mental discipline, the teacher may suggest in the
tisms, and patriotic occasions. Each volume includes a
student’s daily practicing that the student play each line or
preface explaining these seasons and occasions. Also in-
The following are suggested sample weekly assignments.
Level 1 (suggested minimum daily practice time: 30 to 45 minutes)
A major scale
(See part three of Modern Keyboard Technique, Level 1.)
A selection from Modern Keyboard Technique
(Have the student master all the Hanon exercises—one a week—before beginning the Legato Techniques exercises and
pieces.)
A selection from Basic Organ Repertoire
A selection from either Christmas Season at the Organ (use October through December) or Easter and Pentecost Seasons at
the Organ (use during the remainder of the year)
Levels 2 and 3 (suggested minimum daily practice time: 35 to 45 minutes)
A major scale
(When the student has mastered all the major scales in all the progressive ways suggested in part three of Modern Keyboard
Technique, Level 1, he/she should continue playing a major scale a week in the ways suggested in part four of Modern
Keyboard Technique, Level 3B.)
A major arpeggio
(See part four of Modern Keyboard Technique, Level 2.)
A selection from Modern Keyboard Technique
(Recommended order of progressing through these sections, from easiest to most difficult, is:
1: Hanon exercises
2: Czerny exercises
3: Legato Techniques
4: Advanced Arm Rotation [in Level 3B])
(With some students, as an alternative to the above approach, the teacher could work through the Modern Keyboard
Technique books by having the student alternate between Hanon, Czerny, and Legato Techniques exercises and composi-
tions. Assign a Hanon exercise one week, followed by a Czerny exercise the next week, and a Legato Techniques exercise
or composition the following week.)
A selection from Basic Organ Repertoire
A selection from either Christmas Season at the Organ or Easter and Pentecost Seasons at the Organ.
phrase three times in a row perfectly before going on to introduced. By the time the student is in the Level 3A of
the next line or phrase. After the student can successfully Basic Organ Repertoire and level 3A of Modern Keyboard
do that, the teacher should suggest that the student play the Technique, his/her manual facility should be sufficiently de-
entire piece three times in a row perfectly each day. Such veloped so that simultaneous study in our traditional organ
a disciplined practice procedure will develop a student’s method, the First Organ Book, may begin. (See below.) This
abilities to concentrate and play more accurately, and it will provide for a comprehensive development of a legato
will help increase the student’s self-confidence. pedal technique. For the continued development of manual
Practice Instruments
technique, the student should continue in the various series
through Levels 4 and 5 of the Discover the Organ® keyboard
When the student begins to work in the Level 1 books, he/she
method, particularly the Basic Organ Repertoire series and
may continue to use any keyboard instrument as his/her daily
the Modern Keyboard Technique series. Such a constant and
practice instrument, but he/she should also plan to practice on
thorough approach will ensure the development of a master-
an organ at least one day a week (shortly before the weekly les-
ful keyboard technique at the organ.
son) to integrate the easy pedal parts with the manual parts.
If the student has progressed through all three levels of the
Coordinating with Piano Study (if desired)
Repertoire with More Pedal series and the Pedal Primers, vol-
The Discover the Organ® method also may be used as an umes 1–3 as well as all three levels of the Modern Keyboard
introductory organ method for students who have or are TechniqueI series, the student may skip the First Organ Book,
presently acquiring keyboard skills through piano study. A and instead, progress directly into the Second Organ Book. It
piano student may begin simultaneous study with this organ is recommended, or stated above, that the student also should
method at any time or switch over to this method from piano continue in the various series of levels 4 and 5, particularly
study at any level. levels 4 and 5 of the Basic Organ Repertoire series and the
Pedaling and Continued Development Modern Keyboard Technique series to continue to develop a
thorough manual technique.
While the Discover the Organ® method focuses primarily
on developing manual skills, elementary pedal concepts are

Organ Skills™
(requires three to four years of previous keyboard study)
by Wayne Leupold
Organ Skills™ is a comprehensive approach to traditional approximately one page of Chapter 1 to two pages of Chapter
organ teaching. This series of books presumes three to four 2 and two pages of Chapter 3. This does not take into account
years of previous keyboard study. These books also pre- any additional material assigned from Part 3.
sume that the student will have access to an organ with a full Improving Manual Technical Deficiencies
pedalboard for each practice session. If the student is ready for the First Organ Book but has not
First Organ Book had enough basic keyboard technical studies, the teacher
The First Organ Book (third edition, revised and enlarged), may supplement the First Organ Book with the techni-
edited by Wayne Leupold, is two hundred pages in length, cal studies (Hanon, Czerny, scales, arpeggios, etc.) in the
divided into four parts. Part One includes basic information various levels of the Modern Keyboard Technique series
about the organ, organ stop lists arranged by families of of the Discover the Organ® method.
sound, and a brief explanation of the basic periods of music Easiest Hymns
history. Part Two contains a comprehensive beginning or- Easiest Hymns, edited by Wayne Leupold, are simple hymn
gan method including chapters on legato pedal techniques harmonizations for manual and pedals in trio style. This vol-
(Chapter 1), legato manual techniques (Chapter 2), legato ume contains very easy hymn settings suitable for accompa-
manual and pedal techniques (Chapter 3), and the articulate nying congregational singing in three parts; with very easy
style of touch of the seventeenth and early-eighteenth centu- pedal parts (most within the range of a fifth or sixth) for the
ries. Part Three is a graded collection of compositions from new organist. These settings can be used from the very first
all historical periods, with most of the late-nineteenth- and organ lesson in the First Organ Book to provide a hymn-
twentieth-century pieces fingered. Some compositions are playing experience and to begin to teach the basic principles
based on well-known hymn tunes, while others are freely of hymn playing. The hymns chosen are ones included in
composed. Most of the compositions in this part do not re- hymnals of most Christian denominations.
quire traditional organ legato-fingering techniques, thus
enabling the pianist or keyboardist with only a minimum First Improvisation Book
technique to play the organ and sound good immediately. The First Improvisation Book, by John Shannon, is a com-
Much of the material is at a level so that it can be used by panion book to the First Organ Book. It introduces impro-
pianists after only three to four years of traditional piano visation at the organ for beginning, young organ students of
study. Part Four presents basic information about MIDI, a middle school, high school, and college undergraduate ages.
glossary of terms, and registration information (pitches of This 52-page book is meant to be a very first introduction
pipes, four families or organ tone). The First Organ Book is to improvisation at the organ and is very “user friendly” for
the outgrowth of a two-year project initiated by the National these young, as well as adult, age groups.
Committee on the New Organist of the AGO, in cooperation
Keyboard Practice Skills
with Wayne Leupold, to produce an introductory volume of
organ music and elementary teaching materials. Keyboard Practice Skills, by Elaine Grover, is a compact 36-
page book presenting a comprehensive presentation of all the
Begin by exploring some of the compositions in Part Three basic practice techniques needed for successful mastering
(page 133) that are at a keyboard-technical level comfortable of keyboard skills. Chapters include “Warm-up Exercises,”
for the student to experience the pleasure, joy, and fun of “Creating a Practice Routine,” “Learning the Basics,”
making music at the organ. Simultaneously, read Part One “Developing a Practice Mind,” “Using Practice Skills,”
and begin in Part Two to learn how to play the organ in legato “Building Momentum,” and suggested forms.
style. When using Part Two, Chapters 1, 2, and 3 should be
begun simultaneously. A very brief discussion of the articu- Introduction to Organ Playing in 17th- and 18th-
late style is given on pages 131 and 132 to make the student Century Style
aware of the difference in the playing of early music as op- Introduction to Organ Playing in 17th- and 18th-Century
posed to the legato style of later periods. A comprehensive Style (second edition, revised and enlarged), by John Brock,
presentation of the articulate style, not possible in this vol- is a 204-page book that is a detailed, systematic, and compre-
ume, is presented in Introduction to Organ Playing in the hensive approach to learning to play early organ music in the
17th- and 18th-Century Style by John Brock (Wayne Leupold articulate style. It also includes extensive information about
Editions, Inc., WL500011). organ design and registration practices. Bilingual: English
and German.
Each student will proceed at a different rate. However, these
rates often tend to have a fairly consistent ratio in Part Two of

Annotated Performer’s Editions
by Wayne Leupold
A series of editions of standard organ repertoire especially No. 3, Johann Sebastian Bach: The Two-Part Inventions
edited for new organists and organ students. Each volume and the Four Duets (BWV772–786, 802–805), edited by
contains (1) a short biography of the composer and history of Sandra Soderlund
the work; (2) where possible, a likeness and an autograph of
No. 4, Louis-Nicolas Clérambault: First Organ Book (Suites
the composer; (3) a new engraving of the work based on the
1 & 2), edited by Sandra Soderlund
original source; (4) historical information on how the work
was performed by the composer and the organists of his/her No. 5, An Introduction to the Organ Music of Louis Vierne,
time; and (5) historically appropriate suggestions of finger- edited by Rollin Smith
ings and, where applicable, registrations. No. 6, Girolamo Frescobaldi: Fiori Musicale (1635), edited by
No. 1, Johann Sebastian Bach (?): Eight Short Preludes and Calvert Johnson
Fugues (BWV553–560), edited by Sandra Soderlund No. 8, Susanne van Soldt Klavierboek, edited by Calvert
No. 2, Léon Boëllmann: Suite Gothique, edited by Johnson
Rollin Smith
Historical Organ Techniques and Repertoire

by Wayne Leupold
General Editor: Wayne Leupold time and place the music was written. Some of the music is
This is a series of volumes, each of which deals with a spe- for manuals only, and some for manuals and pedal. It is the
cific national school of organ music within a specific his- intent of this series to explore in some depth the tremendous
torical period (Late Medieval, Renaissance, 16th and 17th breadth and variety of styles of music and performance prac-
century North German, Bach, 18th century German, 16th– tices that exist for the organ from the last six centuries.
18th century South German, 16th–18th century Spanish, Volume 1, Spain 1550–1830, edited by Calvert Johnson
16th–18th century Italian, 16th–18th century English, 16th–
18th century Dutch, German Romantic, French Romantic, Volume 2, J.S. Bach—Basic Organ Works, edited by Quentin
English Romantic, American Romantic, the Late Romantic Faulkner
Orchestral Organ in England and America, and Modern Volume 3, Late-Medieval Before 1460, edited by Kimberly
Organ Techniques). The first portion of each volume contains Marshall
a preface that discusses all relevant aspects of organ per-
formance practice: (1) organ specifications and registration Volume 4, England, 1660–1730, edited by Calvert Johnson
practices, (2) hand positions, (3) fingering systems, (4) meter Volume 5, England 1730–1830, edited by Calvert Johnson
and articulation, (5) ornamentation, (6) rhythmic alteration
practices, (7) a bibliography, (8) a list of original sources and Volume 6, Italy, 1550–1660, edited by Calvert Johnson
organ tutors, (9) a list of modern editions, and (10) definitions Volume 7, England, 1550–1660, edited by Calvert Johnson
of the types of compositions that were used by that national
Volume 8, Italy, 1725–1830, edited by Calvert Johnson
school of composers. These are arranged in a teaching for-
mat. The second portion of each volume contains attractive Volume 9, Renaissance, 1500–1550, edited by Kimberly
and appropriate organ music arranged in a graded order of Marshall
difficulty, with some of the easier compositions partially or
Volume 10, Italy, 1660–1725, edited by Calvert Johnson
completely fingered, pedaled, ornamented, registered, and
rhythmically altered according to the practices in use at the Volume 11, Netherlands 1575–1700, edited by Calvert Johnson

ORGAN DEMONSTR ATORS
A series of compositions to demonstrate the organ to various age groups.
For information about each demonstrator, see the description of the publication under the composer’s listing in the “Organ
Solos and Collections—Original Compositions” or “Organ Solos and Collections—Transcriptions” section of the catalog.
During the past fifteen years there has been increasing activity in developing programs and activities that expose the pipe organ to more
young children. Organ Demonstrators, published by Wayne Leupold Editions, Inc., is an exciting new series of organ compositions which
has been developed to be a resource when doing such programs and activities. Each composition is designed to demonstrate the pipe organ
to a specific age group. There are four designated age groups: lower elementary (kindergarten through second grade), upper elementary
(third through fifth grade), middle school (sixth through eighth grade), and high school and adults. A few demonstrators are appropriate
for more than one age group. Some are based on pre-existing melodies, while others are developed from newly composed themes. Many
have a part for narrator or optional narrator. Most are multi-movement works, each movement having a specific registration intended to
demonstrate one of the four families of organ tone (principals, flutes, reeds, and strings) or other aspects of the organ. In some publications,
additional movements are present to round out the overall theme or story of the work.
For Lower Elementary The Transportation Age (Optional Narrator)
A Day in the Meadow (Narrator) by Carson Cooman. . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600202
by Frederick Frahm . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600221 The Variety Show (Optional Narrator)
Dracula Suite (Optional Narrator) by George Lachenauer . . . . . . . . . . . . . . . . . . . . . . . . . . WL600138
by Janet Correll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600137 A Young Person’s Guide to the Pipe Organ
Melodia and Major Octave Discover the Organ (Optional Narrator) by Randolph Currie . . . . . . . . . . . . WL600140
(One to Four Narrators) by Martha Sobaje . . . . . . . . . . WL600173
Melodia and Major Octave Go to Preschool For Middle School
(Narrator) by Martha Sobaje . . . . . . . . . . . . . . . . . . . . . WL600193 Ancient Wonders by David Arcus . . . . . . . . . . . . . . . . WL600157
The Misfortune of a Wise Tortoise (Narrator) Apollo 13 (Narrator) by David Hatt . . . . . . . . . . . . . . . WL600158
by Godwin Sadoh. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600207 A Hiker’s Gear (Optional Narrator)
Piping at the Circus (Narrator) by Carson Cooman. . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600191
by Margaret Sandresky . . . . . . . . . . . . . . . . . . . . . . . . . WL600153 Casey at the Bat (Narrator) by Robin Dinda . . . . . . . . WL600277
The Seasons Come to the Forest (Two Narrators) How the Organ Sings (Optional Narrator)
by Janis Wilson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600188 by Austin Lovelace . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600139
The Transportation Age (Optional Narrator) King Rap (Two Optional Narrators and Optional
by Carson Cooman. . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600202 Hand Drums) by Geoffrey Stanton . . . . . . . . . . . . . . . . WL600182
The Tune Factory (Narrator and Second Organist) Music from Beyond the Galaxies (Optional
by John Barr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600103 Narrator) by John Kuzma. . . . . . . . . . . . . . . . . . . . . . . . WL600165
A Young Person’s Guide to the Pipe Organ South of the Border (Narrator) by Dennis Janzer . . . . WL600166
(Optional Narrator) by Randolph Currie . . . . . . . . . . . . WL600140 For High School and Adults
Why the Chimes Rang (Narrator) by Robin Dinda . . . WL600107 Ancient Wonders by David Arcus . . . . . . . . . . . . . . . . WL600157
Zaccheaus (Narrator) by Larry Visser. . . . . . . . . . . . . WL6002220 A Pipe Organ Primer (Narrator) by Hal H. Hopson . . WL600259
For Upper Elementary Apollo 13 (Narrator) by David Hatt . . . . . . . . . . . . . . . WL600158
The Calming of the Storm (Narrator) by Bernard The Desert by Franklin Ashdown . . . . . . . . . . . . . . . . . WL600168
Wayne Sanders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600056 A Hiker’s Gear (Optional Narrator)
The Creation (Narrator) by Larry Visser . . . . . . . . . . . WL600164 by Carson Cooman. . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600191
A Day in the Meadow (Narrator) Casey at the Bat (Narrator) by Robin Dinda . . . . . . . . WL600277
by Frederick Frahm . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600221 Home Suite Home, Across America with the
Dare to Be a Daniel (Narrator) by Larry Visser . . . . . . WL600124 Pipe Organ (Narrator) by Pamela Decker . . . . . . . . . . WL610007
Dinosauria (Narrator) by Robin Dinda. . . . . . . . . . . . . WL600151 King Rap (Two Optional Narrators and Optional
Dracula Suite (Optional Narrator) by Janet Correll . . . WL600137 Hand Drums) by Geoffrey Stanton . . . . . . . . . . . . . . . . WL600182
Exodus (Narrator) by Larry Visser . . . . . . . . . . . . . . . . WL600150 Music from Beyond the Galaxies (Optional
The Good Samaritan (Narrator) Narrator) by John Kuzma. . . . . . . . . . . . . . . . . . . . . . . . WL600165
by Bernard Wayne Sanders . . . . . . . . . . . . . . . . . . . . . . WL600196 The Moon Lady (Narrator) by Chelsea Chen. . . . . . . . WL600267
Jacob’s Ladder (Narrator) by Larry Visser . . . . . . . . . WL600198 The Organ Is King (Optional Narrator)
Jericho (Narrator) by Larry Visser . . . . . . . . . . . . . . . . WL600174 by Samuel Adler. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600154
King Rap (Two Optional Narrators and Optional The Organist’s Audition (Narrator)
Hand Drums) by Geoffrey Stanton . . . . . . . . . . . . . . . . WL600182 by Dennis R. Johnson . . . . . . . . . . . . . . . . . . . . . . . . . . WL600206
The Misfortune of a Wise Tortoise (Narrator) Scenes from the Life of a Doctor
by Godwin Sadoh. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600207 by Franklin Ashdown. . . . . . . . . . . . . . . . . . . . . . . . . . . WL600181
Noah’s Ark (Narrator) by Larry Visser . . . . . . . . . . . . . WL600163 South of the Border (Narrator) by Dennis Janzer . . . . WL600166
An Orchestra in the Organ (Optional Narrator) For All Ages
by John Barr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600149 Carnival of the Animals by Camille Saint-Saëns,
Overtones (Optional Narrator) transcribed by Ekatrina Melnikova . . . . . . . . . . . . . . . . WL600155
by George Lachenauer . . . . . . . . . . . . . . . . . . . . . . . . . . WL600141 The Child’s Book of Beasts (Narrator)
The Prodigal Son (Narrator) by Bernard Wayne by Richard Proulx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600051
Sanders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600215
Page 12 (Prices subject to change without notice.) © 2013 by Wayne Leupold Editions, Inc.
Organ Activity-Educators
A series of activity books to introduce the organ to children
Organ Activity-Educators are wonderful materials to introduce the organ to children in junior choir curriculums;
summer vacation Bible schools; at Pipes, Pedals, and Pizza; POEs; and other similar events sponsored by
AGO chapters. Discounts are available for quantity orders if ordered directly from the publisher.
For Very Young Children (Preschool through Lower Elementary)

The Adventures of Melodia and Major Octave™:
Playing With Colors and Sounds by Kitty Fischer
A series of coloring books in story form that deal with all aspects of the organ, including
many types, locations, and uses. Short programmatic musical miniatures by Alfred V.
Fedak enhance each drawing of the story.
Volume 1: A Leak in the Reservoir! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600133
Volume 2: A Sticky Tracker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600142
Volume 3: The Organ Installation and Dedication . . . . . . . . . . . . . . . . . . . . WL600162
Volume 4: Down Go the Lights and Up Goes the Curtain . . . . . . . . . . . . . . WL600170
For Young Children (Upper Elementary)

Organ Adventures™
Volume 1: An Organ Activity Book by Leslie Wolf. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WL600114
A book for discovering the organ through games, puzzles, making paper pipes, and doing organ crawls.
Volume 2: Organ Flash Cards created by Leslie Wolf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WLOFC001
120 flash cards including organ stop names, pitch levels, console terms and types of organ actions and tone productions.
Volume 3: Interval Flash Cards created by Lucy Ingram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .WLIFC002
61 flash cards with intervals from repeated notes through eights, ascending and descending in both treble and bass clefs.
Tannenberg Organ Pin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WLTOP003
A very fine replication of the facade of the restored two-manual Tannenberg pipe organ in Old Salem, NC. Solid, antique
brass, 1-5/8‫ ״‬wide by 1-3/4‫ ״‬high.
Practice Beads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WLPB0004
A set of seven beads woven onto a thin rope: three red, one green, one blue, and one purple. The beads are designed to assist a
young child with practice repetitions of pieces in the Discover the Basics™ books A (red), B (green), C (blue), and D (purple).
The student can pull one bead from one side of the rope to the other after each practice repetition.

8510 Triad Drive, Colfax, NC 27235 USA • Phone: 1-800-765-3196 or 1-336-996-8653
Fax: 1-336-996-8445 • Email: [email protected] • Website: www.wayneleupold.com

The Organist’s Assistant Program
Developing Organ Students in Any Church (for third- through sixth-grade children)
by Wayne Leupold
Description The First Free Lesson
The Organist’s Assistant Program is a recruiting tool to ac- Begin the half-hour lesson by explaining and naming each of
quaint young children in a church with the organ, and to inter- the manuals and showing which stops play on each manual.
est them in considering to learn to play the organ. Children in Next demonstrate the four families of organ tone (principals,
grades 3 through 6 (ages 7 or 8 through 11) are invited once flutes, strings, and reeds) by playing one or more stops from
a month to assist the organist in the Sunday morning worship each family. Briefly explain what the pitch numbers mean (8',
service by pushing pistons, tapping toe studs, pulling and 4', 2', and 16').
pushing stops, and turning pages.
Using Book A of the Discover the Basics® series, work
The child meets with the organist for approximately 15 to through the first unit with the student. The student, count-
20 minutes sometime during the week. At this meeting, all ing aloud, plays each of the pieces alone and then with the
the organ music for the service is played, including every teacher playing the duet part. With slow and careful count-
verse of each hymn, the doxology, and the free organ pieces. ing the student should have no trouble playing all the pieces
The child, sitting to the left of the organist on the bench, is well. If there is time, proceed into the second unit. Explain
responsible for pushing all the general pistons and toe studs seconds, and have the student play the first two pieces, again,
and pushing or pulling any needed stops on the left side of alone first and then with the duet part. By this time at least
the console. The organist writes in the hymnal (using pencil) half an hour should have passed, and the parent should have
the number of the general piston/toe stud that is to be pushed returned (if he/she did not stay through the lesson). Have
for each verse next to the first word of that verse. The organ- the student play several of the pieces for the parent, with the
ist then plays through each hymn so the child can practice teacher playing the duet part. Afterwards tell the student how
pushing the piston on the rest between the last chord of one well he/she played and how much fun it is to play the organ,
verse and the first chord of the next. In addition, the child and ask the student if he/she would like to consider taking
pushes the piston for the initial combination of stops for the lessons to learn to play. Sometimes the student and parent
prelude, offertory, doxology, anthem, and postlude. When agree that they would be willing to try some lessons—and
the organist leaves the bench for the sermon, the child also you have a new organ student! Other times, instead, they will
does and sits next to the organist. say they wish to think about it for a little while. The next time
the child is an organist’s assistant, be sure to ask both the
Four children are recruited every term, each serving once
child and the parent how their thoughts have progressed on
a month for nine months (September through May). If you
the subject of lessons.
have a choice, begin with the older children (fifth and sixth
graders) first, so they will have an opportunity to participate The Second Free Lesson and Thereafter
before they age out of the program by seventh grade. After After six more times of the child assisting the organist, it is
assisting six times (approximately six months from starting), time for a second free organ lesson. Possible options are:
each child is offered a free organ lesson to learn more about
the organ. 1 Continue in Book A, working through Unit 1b.
A Schedule
2 Do a “special” private tour of the pipe organ chambers.
First, at the console, again explain the different pitch
At the beginning of each term type a schedule listing who
levels of the stops (16', 8', 4', 2', and Mixtures) and the
will be the assistant each Sunday of that term (approximately
four families of organ tone. Then take the child into the
five months). At the bottom of the page list the phone numbers
chambers and point out examples of ranks at each dif-
of the homes of all the assistants. Mail a copy to each fam-
ferent pitch level and each of the four families of organ
ily, the Christian education director, and the minister. Thus
tone. Point out how the wind is generated by the blower,
each child and the child’s family will know which Sunday
progresses through the bellows and into the wind chests,
they are scheduled for each month. If a conflict arises and
and finally enters the pipes. (For a drawing of all this,
the child cannot participate on their assigned Sunday, it is
see page 78 in Book A.) If the organ has tracker action,
their responsibility to trade Sundays with one of the other
point out the trackers going from the keys into the wind
assistants, preferably before the weekday afternoon rehearsal
chests.
prior to that Sunday.
3 If the student has begun private lessons already, simply
The schedule is also a good way to keep track of how many
credit this free lesson to the next month’s lesson bill.
times each child has assisted; this will help the organist de-
termine when each child qualifies for his/her free lesson.

Recruiting Children for the Program was assisted by the CE director, who privately went to some
The organist asks the minister to approve this program as a of the older relatives and adult friends of the child’s family
youth program (“involving youth in the music program and in in the congregation. The CE director found four people, each
worship services”). With that approval, the organist then ap- willing to commit to providing the money for one lesson per
proaches the CE director for his/her approval and assistance. month. This has worked well. However, when a similar fi-
An announcement/invitation is put in the monthly church nancial need arose with another potential young student, it
newsletter for two issues and in the Sunday bulletin for four was not as easy to solve; that child was not as well known or
to six weeks prior to the beginning of the program. Then a related to many adults in the congregation.
plan is devised to present this invitation to the children in the The church has a small organ recital series of three programs
various Sunday school classes (ages 7 or 8 through 11). The each season, performed by fine, local, invited organists. We
organist may invite all of the children in this age group to a always put a plate at the rear of the sanctuary during these re-
demonstration of the organ1 one Sunday during the Sunday citals and have usually received more money than is needed
school hour, or the organist and C.E. director may go to each for the costs of a reception following the recital and a small
class, talk about the program, and give the invitation. Present honorarium for the recitalist. The excess money has started
the invitation first to the older children, and work downward to build up. When I informed the chairperson of the organ
until four students volunteer. committee, which oversees the recital series, of the financial
Depending upon individual situations, if fewer students than need of the second needy potential student, she suggested
four volunteer, each could participate more frequently than starting a scholarship fund with the excess money from the
once a month, and/or the age limit could be raised so that recital contributions. The minister enthusiastically supported
seventh-graders could participate. If more students volun- the idea. The organ committee met, discussed a number of
teer, the term of each group of four could be reduced to six ideas, and developed a set of procedures for assisting needy
months, so that two groups could be used during a complete young organ students in the congregation.
calendar year. At each recital we now announce that the money collected
As the months progress, the organist will come to have a will be divided between the expenses of the recital and the
sense of how much interest each child has in the organ. At scholarship fund; the contributions have increased, adequate-
various times, the organist may discuss the joy of playing the ly funding the additional scholarship needs. If a church does
organ and inquire if the child is interested in learning more not have such a recital series, other ways certainly could be
about the organ and how to play it by taking some lessons. found to finance such a scholarship fund.
Awards Ceremony A Program Any Organist Could Start
At the end of each term (once a year), at a little ceremony at Every organist in a church with children in a Sunday school
the beginning of a service, each child who has completed that could develop a similar Organist’s Assistant Program. It is
term is presented with a certificate and a musical pin.2 When really quite easy. What a difference that could make, over a
the child ages out of the program, he/she is presented with a period of time, in lessening the national shortage of organ-
very special pin—the pin with a representation of the organ ists!
case of the 1800 Tannenberg organ in Winston-Salem, NC.3 1 See list of Organ Demonstrators in our catalog and newsletter.
A Scholarship Program 2 A catalog that offers a large selection of appropriate pins is
After giving some of the organist’s assistants their first free Music in Motion, P.O. Box 869231, Plano, TX 75086-9231,
lesson (after six assists), it became obvious that some children phone: 1-800-445-0649 or 1-972-943-8744.
really wanted to start private organ lessons, but the money 3 1800 Tannenberg Organ Case pin available from Wayne Leupold
for the private lessons would be a problem for the parents Editions, Inc. (WLTOP003)
(or the single parent). The first child who had this difficulty

Proposal to the Minister and CE Director
Taken to Selected Sunday School Classes by the CE Director
Senior Organist’s Assistants Program*
Needed: Young people between 7 and 11 years of age.
To be: Page turners, Stop pullers, Piston pushers, and Toe Stud Stampers for our new pipe organ
Job Description: 1) assistant to the senior organist, Wayne

2) at the 11:00 a.m. service
3) one Sunday each month
4) arrange music pages, turn pages, pull stops, push pistons, stamp toe studs
5) equal opportunity activity!
Pay: 1) one free organ lesson for each six months of service
2) the satisfaction of knowing you have “Praised the Lord” by helping to make our organ play beautiful
music in the 11:00 a.m. service.
Contact: Our Senior Organist Wayne at home: 282-7450; his office, 996-8653; or the church office, 993-3620.
*Due to the complexities of our new pipe organ, our senior organist Wayne Leupold needs help!
Notice in Monthly Church Newsletter
Organ
Assistant
A new program has begun with the lovely Tracker organ involving the interaction of
children, ages seven through eleven years old. They will assist our Senior Organist,
Wayne Leupold, as he plays. Their responsibilities will be Page Turner, Toe Stud
Stamper, Stop Puller, and Piston Pusher. Children will have special practice times at
6:00 p.m. on Wednesdays to become familiar with their organ responsibilities and they
will rotate the Sundays they assist. Presently, three students have signed up to work
in this position. They are Ben White, Laura White and Tanner Sexton. At this time I
invite children, who are interested in participating in this program, to contact me so
we can talk about it. Wayne will offer a free organ lesson, as a thank you, to those who
assist him and serve as an Organ Assistant six times.
Miss Cheryl (993-3620)
[email protected]

Notice Placed in Sunday Church Bulletin for About a Month
ORGAN ASSISTANTS: This morning we are beginning a new program

involving the interaction of children, ages seven through eleven years
old, with our lovely Tracker organ. They will assist our Senior Organist,
Wayne Leupold, as he plays. Their responsibilities will be Page Turner,
Stop Puller, Piston Pusher, and Toe Stud Stamper. Children will have
special practice times at 6:00 p.m. on Wednesdays to become familiar
with their organ responsibilities and they will rotate the Sundays they
assist. Presently, three students have signed up to work in this position.
They are Ben & Laura White and Tanner Sexton. At this time I invite
children, who are interested in participating in this program, to contact
me so we can talk about it. Wayne will offer a free organ lesson, as a
thank you, to those who assist him and serve as an Organ Assistant six
times. Miss Cheryl
Part of My Staff Report at Semi-Annual Congregational Meeting
Senior Organist’s Assistants Program

This Fall I began a new program, the Senior Organist’s Assistants Program. Each Sunday a
young person between the ages of seven to eleven is on the organ bench with me at the 11:00
a.m. worship service. He or she assists me by pushing organ pistons and toe studs, and helping
to arrange the music on the music rack. Each child assists one Sunday each month. This Fall
I had the able assistance of Tanner Sexton, Jeffrey Smith, Ben White, and Laura White. At this
writing, two of these young people, Ben and Tanner, have come to enjoy our new organ so
much that they have begun organ lessons so that someday they might play our new organ in
a church service. I am indebted to Cheryl Cottingham, our Christian Education Director, for her
help in organizing these young people in this new program.
Wayne Leupold
Director of Music/Organist
Each Sunday in the Church Bulletin, directly underneath the

Postlude listing is the following:
“ _____________ is the Senior Organist’s Assistant today.”
After the service, the Organist’s Assistant signs the “Guest

Organists’ Book,” which always stays on the console with a pen.

A History of the Beginning of the Program
Fall 2003
I began the Organist’s Assistant Program at Kernersville
Moravian Church (Kernersville, NC) in September 2003.
The publicity announcing the program is shown on pag-
es 16 and 17. Four children signed up: one third grader,
one fifth grader, and two sixth graders. Each week one of
them rehearsed with me on Wednesday from 6:00 to 6:15
or 6:20. Ben White, after only one Sunday’s experience,
chose to begin organ lessons.
From left to right: Wayne Leupold, Ben White, Tanner Sexton,

Jeffrey Smith, Laura White.
Winter/Spring 2004
In January 2004, at the beginning of the second term,
Laura dropped out due to lack of continuing interest and
was replaced by Kelsey Simon, a fifth grader. Tanner
Sexton had his free lesson after being an assistant six
times and then decided to begin private lessons. In the
winter Ben White had to stop lessons for financial rea-
sons.
From left to right: Wayne Leupold, Ben White, Tanner Sexton,

Jeffrey Smith, Kelsey Simon.

Awards Ceremony for 2003–2004,
September 2004
The first season’s program ended on Memorial Day
Sunday. In early September we held a short awards cere-
mony prior to the prelude at a Sunday service. Each child
was presented with a gold pin of a little cross superim-
posed on a treble clef sign. Tanner Sexton, who had aged
out of the program, was presented with a Tannenberg
organ case pin. Also pictured are the new children who
began in the program’s second season.
Back row, left to right: Wayne Leupold; Laura White; Ryan

Thornton; Ben White; Megan Spenser; Ryan Spenser; Reverend
Donald Winters, pastor. Front row, left to right: Kelsey Simon,
Tanner Sexton.
2004–2005
In September 2004 we began our second season with three
new children and one returning child. In October 2004
Kelsey began private lessons after assisting six times and
receiving her first free lesson. Ryan and Megan also both
expressed a desire to take private lessons after their first
free organ lesson. As of this writing (August 2005) they
expect to begin lessons in September 2005.
From left to right: Wayne Leupold, Ryan Thornton, Megan

Spenser, Kelsey Simon, Ryan Spenser.
November 14, 2004

Tanner Sexton began private lessons in February 2004.
On November 14, 2004, Tanner played for the first time
in church. He used a selection from Discover the Basics®
Book B as a prelude. I sat on the bench to his right and
played the teacher’s duet part in the treble clef. Ryan
Thornton, the organist’s assistant that Sunday, sat on
Tanner’s left and pushed two pistons: one at the begin-
ning of the piece and one when the piece was repeated
on a different registration. It was a very exciting and suc-
cessful experience for all concerned. Note that Tanner is
wearing his Tannenberg organ pin on his lapel.
From left to right: Wayne Leupold, Tanner Sexton, Ryan

Thornton.

Starting an Organ Academy in Your Local Church
by Sally Casto (Delaware, Ohio)
A year ago this month I resigned as Seminary Organist at meeting, and I was convinced that the curriculum had
the Methodist Theological School in Ohio, a position I had integrity and a solid pedagogical foundation. My biggest
held for twenty-one years. I loved this job: playing for chapel concern was securing practice locations for the students.
services, accompanying the seminary choir, teaching organ When Robert Griffith, organ professor at Ohio Wesleyan
to seminary students, and directing a two-year certification University, agreed to offer my students access to the organ
course for pianists and self-taught organists who wanted to practice rooms on campus, I really sensed that this was
become more proficient with organ skills. Why did I resign? going to work.
Both the shortage of organists and the growing tendency in 5. Will My Congregation Approve and Support This
churches across the country to learn to do without the organ Ministry?
were frightening me. And while I felt I was doing my part by I began with this understanding: offering organ lessons to
training organists, and the older students I was training were young persons was a form of outreach ministry, as well as
admired and appreciated by their congregations, my teaching education. Our church has always been known for its mu-
didn’t affect the shortage of organists. I decided to pursue the sic; this was a way of carrying that tradition to a new lev-
one choice that could make a radical difference: to embrace el. We would train musicians who would be able to share
Wayne Leupold’s curriculum and his passion about teach- the heritage of organ music throughout our community.
ing young people to play the organ. I believe that if enough When I took the concept to our administrative council, it
young people are encouraged to study the instrument, then received unanimous endorsement.
there is a chance for its use to grow and flourish.
Getting Started
So I embarked on the adventure to start an organ academy in I worked through the following issues. These concerns over-
my local church. I am sharing my experiences from the past lapped at times, but, eventually, answers materialized.
year in hope that you, too, will be challenged to make this
1. How Will People Learn about the Academy?
effort in your community. My example could be revised and
I sent letters to two groups: the churches in town and all
altered to fit your situation. These sections will guide you in
the local piano teachers that I knew. I wanted the churches
your thinking:
to hear about our program and to consider whether there
• Making the decision to organize an organ academy were young folks in their congregations who might like to
study the organ. I also asked if our students might be able
• Getting started: essential steps
to practice there (in case I had more students than I could
• Preparing to teach younger students accommodate at our church and at the university). Three
• Meeting the needs of the younger students churches with no students to suggest still offered their or-
gans as practice venues and were eager to support this ef-
• Working with parents and music directors of students fort. One music director recruited three students and then
from other churches helped pay for their lessons from her own music budget. I
Making the Decision to Organize an Organ Academy created a brochure, which I enclosed with the letters and
with every piece of correspondence I had about the acad-
I asked five questions as I made my decision:
emy. I also submitted an article to our local newspaper. To
1. Is This Needed? my great surprise, the paper sent a reporter and photogra-
Absolutely, without question. pher to interview our students and put a color photo on the
2. Could I Do This? front page.
I did have reservations. But, with a background of middle 2. What Was a Reasonable Working Schedule?
school teaching and experience working with beginning I knew that afternoons would be most convenient for stu-
organists, I felt I was as qualified as most others who were dents and would not interfere with the church’s evening
already trying such a program. meeting schedule. Since I was involved with a children’s
3. Am I Willing to Give Up My Job to Do This? choir on Wednesdays and I wanted to keep Fridays free, I
This was the hardest part. I planned to continue as music elected to teach on Tuesday and Thursday afternoons and
director/organist of my church, but to add the organ acad- to offer the church as a practice venue on Mondays. That
emy to my seminary responsibilities was simply too much meant that I would offer 30-minute lessons at 3:30, 4:00,
to juggle. One would have to go. After twenty-one years, it 4:30, 5:00, and 5:30. Therefore, I would have a total of ten
just felt like the right time to try something new. lesson slots available.
4. Do I have the resources to do this? 3. Where Will the Students Practice?
Having studied the Discover the Organ repertoire, I was Because of the way the Leupold method books are de-
confident the materials were appropriate. I had heard signed, the students can basically learn their organ music
Wayne Leupold describe the curriculum at an AGO at home on any keyboard instrument they have. After each
student enrolled, I worked out the arrangements for them Randolph Currie (WL600140). This piece takes the famil-
to get to the organ at least twice a week. Most practiced in iar Twinkle, Twinkle Little Star melody and uses poetry
their local church. The older students liked using the uni- and different registrations to introduce the sounds the or-
versity practice rooms; the younger students did not. (And gan can make. I invited the attendees to move about the
I insisted with younger students that parents accompany sanctuary and hear the organ sounded in different parts
them at their practice sessions at the university.) We did of the room. Following the “Royal Tour,” I described the
not need to use additional church organs for practice. Pipe Organ Encounter experience sponsored by the AGO
4. How Will I Finance This Academy? and showed the video Close Encounters: An Introduction
This is a critical issue to decide at the very beginning. I to the Pipe Organ. This is available from AGO headquar-
had hoped to find some grant funding, but I was unsuc- ters and follows a group of teenagers during a Pipe Organ
cessful. I did tell the president of a local organ company Encounter week. It’s short and informative, and it offers
about my plan, and when he asked how he might sup- personal observations by the students of what they like
port it, I gave him a list of choices. He elected to send most about the organ. It is very convincing—and more
me $500 to use however I chose. I used this first to order persuasive than an adult discussion about the benefits of
a complete set of the Leupold teaching materials, so that organ study. Then, as people enjoyed refreshments and ex-
I would always have samples of the entire library. Then plored the repertoire table, I was able to help students reg-
I allocated the balance to paying for each student’s first ister the piano pieces they had brought, and each was able
book. I structured the lessons in two terms of fourteen to play the organ. Everyone had fun, I met the students,
weeks, from October through January and mid-February and we scheduled lesson times and selected the appropri-
through mid-June. I charged $300 per term, payable either ate beginning level materials.
all at once or in two installments. This came to a little over Preparing to Teach Younger Students
$20 per lesson. I chose to pay myself $15 per lesson and This was more challenging than I expected. I thought from
to use the rest to cover all other academy expenses: post- my public school teaching experience and my work with chil-
age, printing, advertising, and refreshments. I decided, dren’s choirs that I would make this transition rather easily.
in order to appease any concerns from church members Not true—even with a good curriculum to use. I was used to
that the church would have increased utility costs, to con- teaching adults in one-hour lessons. Teaching an eight-year-
tribute $150 each term to the church utility budget. (This old for thirty minutes was a completely different occasion. (I
really impressed the church trustees; I have not received knew it would be, yet it was still more different than I imag-
one complaint from them.) I also offered a stipend to the ined.) In hindsight I would have spent some time observing
university in appreciation for the practice privileges, but young piano students. I have to confess that I was caught off
they graciously declined and encouraged me to use that guard at the first lesson when my student asked what kind of
money for other program needs. One further scheduling stickers I used when a piece was learned! I assure you that I
note: I did not offer lessons during Holy Week or the week was armed for the next week of lessons.
preceding my children’s choir musical.
5. The Community Open House
Meeting the Needs of the Younger Students
I wanted to begin this Academy with a festive occasion I quickly learned about changing the bench position. I was
that would be both informative for those still thinking prepared, but my students didn’t need to use the PedXtends.
about lessons and also motivational for those who had al- Their legs were long enough to reach the pedals. What I
ready enrolled. The newspaper article mentioned the open hadn’t thought about was the visual challenge of seeing the
house, and I also took out paid advertising. I encouraged music. A high music rack puts the music much farther from
students to bring piano pieces to try out on the organ. We the students than they are used to at the piano. They have all
met on a September Sunday afternoon at 2:00. I had the adjusted by now, but they were quite bothered at first.
Leupold materials arranged on a display table, a fun ques- Working at multiple consoles does not seem to be as big an
tionnaire about the organ for students and parents to fill issue as I expected. It is helpful for the teacher to have the
out together, name tags for all, and, of course, some very stop list of the organ where the student practices. This makes
tempting refreshments. After folks gathered and complet- registration conversations more understandable.
ed the questionnaires, I went over the questionnaires and
spoke for a few minutes about how much I enjoyed play- I have been blessed with great cooperation from the churches
ing the organ. Then I played one of my favorite pieces for of the students—their music directors have been very eager
them: Michael Burkhardt’s How Firm a Foundation. The to have them play preludes (or part of the prelude when their
pedals have the melody in this piece, and it’s a good way pieces are very short). This has been exciting for the stu-
to get excited about playing with the feet. dents, and the congregations are able to support the learning
process. Church members seem genuinely thrilled to have
Next, with the help of a narrator, I played one of the young organists in their midst. The only down side to this is
Leupold Organ Demonstrator compositions: A Young that I am unable to hear them play because I am always play-
Person’s Guide to the Pipe Organ (A Royal Tour) by ing on Sunday morning.
Working with Parents and Music Directors Conclusions
The parents of my students have been very eager to help with The final week of lessons of our first year is about to begin.
transport to practice and to provide the additional lesson ma- Am I glad I started the academy? Absolutely. Did I have the
terials as needed. response I expected? To be truthful, I didn’t know what to
expect. I have had six students this year. The two older stu-
The music directors have been extremely supportive. In
dents, a high-school freshman and junior, have stopped for
some cases there has been an unrealistic expectation that the
the time being, due to track season and rehearsals for the
new students are ready to play accompaniments for choirs
school musical. The four remaining students are 8, 11, 11,
and congregations. They are still new to the instrument; to
and 14, and they seem very committed to continuing their
me they seem unready for the pressure of accompanying for
study. For me, the experience has not been very productive
several months. I will continue to learn about the best way to
financially. But that wasn’t my goal, and there are signs that
introduce accompanying for larger groups.
new students are planning to enroll for the coming year.
There is also the issue of shoes. The beginning materials have
The biggest surprise was that none of the students was from
extremely simple pedal parts. It does not take a $50 pair of
my church. For some who considered enrolling, I think cost
organ shoes to play two-note pedal parts. These children are
was a deterrent. Perhaps I will be able to secure some schol-
growing very fast, and I have learned not to dwell on organ
arship funding for the coming year. Others were deterred by
shoes too much (which I’m quick to do with my beginning
the challenge of continuing their piano lessons and having
adult students).
time to begin the organ. I have tried to have the current stu-
A colleague recommended to me a fine article for parents: “In dents play at fellowship occasions and on Sunday mornings
Pursuit of Life’s Passion,” by Katrina Kenison. It appeared at our church, and I think this will help others to think about
in an unlikely source—the May 18, 2004, issue of Family lessons next year.
Circle. This is a mother’s view of her 13-year-old son’s deci-
Even without our own students, my congregation has been
sion to study the organ. It is beautifully written and offers a
very excited about the organ academy, and they are proud
glimpse of what it is like to be committed to the study of the
to claim it as an educational opportunity open to youth in
organ at such an age. Those of us who teach these new organ-
our community. We hope to see our enrollment grow in the
ists will find encouragement from these words.
coming year.
Addendum: Questionnaire for Academy Open House
Organ Questions to Think About:

Explore the organ and find the answers!
1 Are the organ keyboards shorter, longer, or the same length as piano keyboards?
2 Are the organ pedals flat like the keyboards or curved?
3 Where does the organ sound come from?
4 How do you turn on the organ sound?
5 Why do you think organists wear special shoes?
6 Can organs play softer than pianos?…louder than pianos?
7 Can you get your body to do several things at the same time, just like an organist?
a Tap one or both your feet up and down…and then
b Rub your left shoulder with your left hand…and then
c Snap the fingers on your right hand.
Congratulations! You’re ready to start playing with your hands and your feet!

Asbury Organ Academy Brochure —Outside
(printed on 8½"x11" colored paper [red], folded in thirds)

Asbury Organ Academy Brochure —Inside
(printed on 8½"x11" colored paper [red], folded in thirds)

Sample Letter to Prospective Students in Your Church

Sample Letter to Prospective Students in the Community

Sample Letter to Piano Teachers in the Community

Planting the Seeds for Organ Study: The Task Is Yours!
by Sally Casto
The accomplishment you will experience from seeing your students grow into
organists, who can participate in worship and prepare for collegiate study,
will equal or exceed the pride you take in your own personal performances.
[quote by author]
For over forty years, I have been a church musician. The path. I have wondered which of my esteemed colleagues
last thirty-seven of which have been in my current position would be bringing young organ students to guild meetings
as organist and music director of Asbury United Methodist as my learned teacher Marvin E. Peterson, AAGO, had
Church in Delaware, Ohio. I have been there long enough taken me while only a high school student.
to live through the demise of an organ which began as
Approximately twelve years ago, our chapter sponsored
Johnson and Son, Opus 741, built in 1890, and to complete
a presentation by Wayne Leupold about his new instruc-
the first five years of playing a new organ, Opus 1842,
tional program, Discover the Organ, for young people.
built by Johannes Klais Orgelbau of Bonn, Germany. I
I attended as a doubter and left in a quandary: Should
have been nurtured by the programming of the Columbus,
I be one of those working with young organ students?
Ohio chapter of the AGO, beginning as a young thirty-
I had been neither a college organ major, nor studied at
something and now attending as one of the older members
one of the highly respected colleges for organ instruc-
at monthly meetings.
tion. However, I was a conscientious musician with a
Over the years, a nationwide trend has become obvious: disciplined practice regimen; had been an applied organ
there are very few new organists preparing to follow this student throughout my college years; regularly attended
music conferences; and took lessons
on an occasional basis. The conclu-
sion was obvious. Indeed, I could
teach beginning organ to children and
youths. Not only did I already have
several adult students, but also I had
many years experience working with
young choir members. There was re-
ally no reason why I myself could not
teach younger organ students.
Moving forward with this commit-
ment, I ran into Wayne Leupold at
a regional AGO convention. Thus,
the opportunity presented itself once
again to study teaching materials that
are carefully designed to attract and
intrigue younger students. The de-
cision was made: “I would do this!”
The experiment began in October
2004 with the founding of the Asbury
Organ Academy. After recruiting
through my local church music col-
leagues and securing the support of
my congregation, I began with three
students—a 2nd grader, a 5th grader,
The author’s organ students (left to right): Alex Armstrong, Nathan Roden, Hailey Algoe,
and an 8th grader—a modest start, to
Miles O’Flaherty, Tony Cherup, Austin Chivington, Noah Planisek, and Virgil Michael;
Tatiana Tawney (seated).
From the September 2012 issue of The American Organist Magazine.
Copyright 2012 by the American Guild of Organists.
Page 28 Reproduced by permission of ThebyAmerican
© 2013 Organist
Wayne Leupold Magazine.
Editions, Inc.
be sure. Would it grow? By spring I
had seven students who were enjoying
their lessons, learning and improving,
and being asked to perform modest
roles in their congregations.
To date, I have taught sixteen stu-
dents. The fi rst student to enroll
will be a senior at Ohio Wesleyan
University this fall: a music educa-
tion major with the organ as her per-
formance instrument. She plays two
services each week: a Saturday after-
noon service at her local parish and
a Sunday morning service at a rural
Lutheran church in a neighboring
county. She is the fi rst church organ-
ist to come from our program.
Currently, I have nine students ranging
Alex Armstrong and Sally Casto
in ages from 8 to 18 years old. The old-
est of these is a high school senior who recently completed people in various communities. AGO support is available
his auditions at five colleges and was accepted at four out as are excellent instructional materials designed for be-
of the five. He also has chosen to attend Ohio Wesleyan ginning students at any age and continuing in a graded
University, where he will major in organ. course until they are prepared to advance to traditional
While not having the opportunity to study organ peda- organ method books. They can be ordered and shipped to
gogy formally, I have learned how to offer a quality in- your location. The accomplishment you will experience
structional program. The Leupold instructional series from seeing your students grow into organists, who can
of Discover the Basics® and Discover the Organ® offer participate in worship and prepare for collegiate study,
graded lesson books accompanied by supplemental re- will equal or exceed the pride you take in your own per-
sources which include volumes on repertoire; technique; sonal performances.
materials for organ and a solo instrument; repertoire with The organ community needs involved teachers. The very
more pedal; seasonal volumes of simplified hymns for survival of the church’s organ tradition needs your energy,
Christmas and Easter/Pentecost; and a free handbook for commitment, and passion. The joy of being able to share
organ teachers explaining how to use all these different the organ as an instrument that young students can master
materials and series. is overwhelming. May that joy be yours!
The AGO offers Pipe Organ Encounters for summer study
and exposure to organ construction and related musical ac-
Sally Casto is director of music at Asbury United
tivities. My students have attended a total of eleven POE’s.
Methodist Church in Delaware, Ohio. From 1983 to 2004,
Their participation has been funded in part by our Organ
she was seminary organist at Methodist Theological
Academy and by the Columbus AGO chapter, which
School in Ohio. While at MTSO with Roy Reed, profes-
dedicated a portion of its proceeds from hosting the 2007
sor of worship and music, she founded the seminary’s
Region V Convention to support organ students. (Once
Organist Training Program, a two-year course that taught
again the AGO is helping me teach and learn!)
essential skills for effective organ playing and understand-
I hope this article will encourage others to consider seri- ing of worship. Since 1990, that program has graduated
ously any opportunities to introduce organ study to young more than 50 organists.
From the September 2012 issue of The American Organist Magazine.

Copyright 2012 by the American Guild of Organists.
Reproduced by permission
© 2013 by Wayne Leupold of The American
Editions, Inc. Organist Magazine. Page 29
The DemoInfo Program
Do You Enjoy Playing a Keyboard Instrument? You Can Play the Pipe Organ, Too!
by Wayne Leupold
Rationale AGO chapter provides the volunteer teachers for these three
With the growing shortage of organists in this country, AGO free group lessons. After the third lesson each student is en-
chapters and individual churches have begun to develop vari- couraged to continue the study of the organ on a private basis
ous types of programs to demonstrate the organ. Although for a fee, either with the teacher who gave the group lessons
many of these programs are very effective in exposing the or- or any other qualified teacher of the student’s choice. Over a
gan to groups of children and adults, they often do very little period of time these students will contribute to developing
to actually get more children and adults on organ benches more organists to lessen the currently increasing shortage
studying and learning to play the organ. In contrast to this, throughout the country.
over the past twenty years, I have developed and refined a
Promotion of the Event
program, a DemoInfo program, with two AGO chapters
(Syracuse, NY and Greater Greensboro, NC) that has had Carefully and thoroughly publicizing the DemoInfo pro-
great success in (1) locating specific children and adults who gram is absolutely crucial to its success. Interested persons
are interested in the organ, (2) encouraging them to come must be targeted and made aware of the event. First, define a
to a demonstration of the organ, (3) getting them to sign up geographical area in which you wish to promote this event.
for three free group organ lessons, and (4) having a signifi- Ideally, the event should be near or in the center of this de-
cant number of them continue with private organ lessons fined area. Think in terms of how many counties you can
after the free group lessons. The following is a thorough cover around the county the event will be held in. It could
explanation of how to organize and present this event and the easily be an area with a radius of 60 to 100 miles in every
follow-up group lessons. The program has been done eight direction from the location of the event. With a 100 mile ra-
times during the last twenty years. Various alternatives and dius you might be able to go out as far as two counties in each
variations also have been tried over the years (see the “Do’s direction from the county in which the event is held.
and Don’ts” section), all with less success than the particular Second, develop an announcement or poster (8½"x11") on
procedure, program, and follow-up discussed below. colorful paper (20# bond, pink or yellow). Compose a letter
that will be mailed with the poster to every clergy person
The Event
of every Christian church within the defined area. Likewise,
A DemoInfo program is a demonstration-information work- compose a letter to be sent along with a copy of the poster to
shop specifically designed to inform the general public, both all the piano teachers within this area. Approximately nine
children and adults, about weeks prior to the event, mail the flier/poster with the ap-
1 the four families of organ tone, propriate cover letter (both folded, in a regular business-size
envelope) to all the clergy and to all the piano teachers. All
2 how anyone can begin playing the organ,
the recipients will then receive the poster about seven weeks
3 the rewards of making music in the church (personal, prior to the event. This will allow the clergy enough time to
spiritual, and financial), and put an announcement in their monthly church newsletter for
the month in which the event will take place. One mailing is
4 the benefits of being a member of the American Guild of
sufficient. Do not waste money on doing a second follow-up
Organists.
mailing. Instead, if extra funds are available, use them to ex-
This demonstration-information workshop is specifically pand the mailing list (a larger geographical area) for the one
designed to encourage people, whether they have had prior mailing. (The church mailing list company [see “Budget”
keyboard study or not, to consider learning to play the organ. No. 1, below] may attempt to sell a second set of labels at a
After a number of different topics have been discussed (see reduced price. Resist the offer.)
1–4 above), an offer is made to all in attendance who have
Third, place enough posters in every sheet music store within
never played the organ to sign up for three free group lessons.
that area so that they can include a copy of the poster in every
All who sign up, both children and adults, are put in groups
bag of piano music they sell beginning two months prior to
of no more than three, according to the number of years of
the event.
keyboard study they have had or if they have had no previous
keyboard study. The three group lessons are free but there is Fourth, list the event in the local AGO newsletter for sev-
a charge for the book that each student uses. If desired, the eral months prior to the event. Include a poster in each AGO
charge for the book (“maximum of $25”) could be mentioned newsletter sent out and encourage each member to post it at
on the poster and in all the publicity. It certainly must be their church and list the event in their church’s newsletter.
stated when announcing the sign-up for the group lessons at
Fifth, develop a one-page publicity release and mail it to all
the event. These organ method books vary according to the
local newspapers and radio stations. However, for the main
amount of keyboard experience each student has had. The
newspaper(s) in your area, make an appointment to meet 4,000.) Purchase only one set of mailing labels. Do not
with the religion editor or feature editor who covers religion. do two mailings;
Do not just mail the publicity release and other materials to
2 printing a flier or poster (8½"x11") on colored paper (a
this editor. Take the time to have a face-to-face meeting. This
bright pink or yellow with black ink), 20# bond, enough
communicates that you are very serious about this. Take all
copies for the mailing list of churches, mailing lists of lo-
your materials to him/her, discuss the shortage of organists,
cal piano teachers associations, local sheet music stores,
and ask for a feature article with a photo. (Photocopies of
AGO newsletters, and 100 extras;
articles that have appeared in many newspapers over the last
twenty years discussing the shortage of organists nationally 3 printing the cover letter on AGO chapter letterhead for
can be obtained from Wayne Leupold Editions, Inc. These both the clergy persons and the piano teachers; and
can be very helpful in convincing the editor of the serious- 4 the cost of mailing all the cover letters with the fliers.
ness of the shortage and the need that the program addresses.
See “Packet,” below.) Requesting that a photo be included Funding
with the article is also extremely important. Photos are very The above budget could easily be $800 to $1,500. Think of
effective in enhancing an article. The photo can either be of this as a major event for your local AGO chapter for that year.
an organ teacher in the area teaching a young child at a con- Plan ahead. A chapter could even set aside some of the money
sole or a photo of all the people who will be presenting the that will be needed from the previous year’s chapter budget.
program, grouped around an organ console. Show the editor Many AGO chapters and some large churches sponsor one
the local AGO newsletter with the listing of churches that are or more major organ recitals each season at a cost of $1,000
looking for organists. Explain that some churches have been to $3,000. They should be encouraged to take that money
looking for many months. Encourage the editor to call those (or part of it) in some years and, instead of a recital, use it
churches and interview them to ascertain the extent of the to fund a DemoInfo program. The long-term benefits to the
need to develop more organists. Getting a significant article AGO chapter and to all the churches within the area would
in the major newspaper(s) in the area is very important to get greatly exceed the benefits of just another recital. Small AGO
the message out about the program. This cannot be overem- chapters, which have very limited resources, could budget a
phasized! DemoInfo program by reserving a certain amount of money
Sixth, put a notice in your monthly AGO newsletter prior from several years’ budgets and saving it for such an event.
to the event, calling for organists to volunteer to give the Additional sources of funding could also be explored. In
three free group lessons. A logical requirement for anyone many AGO chapters and churches there are often people
teaching these lessons would be for each to have at least a of substantial financial means who are greatly interested
bachelor’s degree in organ performance. Such an announce- (sometimes passionately) in the organ. Such would include
ment with an objective standard eliminates any criticism of doctors, lawyers, and successful business and professional
possible favoritism. (Our experience has been that we usu- persons. Sometimes all that is necessary is for such a person
ally have not found enough teachers ahead of time and have or persons to become aware of this financial need, and they
had to call additional AGO members who did not volunteer would be very generous. Many communities now have local
to ask for their help in teaching the group lessons.) If your or national foundations, which also could be approached for
total defined geographical area is large, consider finding a assistance. Long term, the rewards to the chapter and to the
few teachers who live in outlying areas, so the students who churches in the chapter’s area will be well worth the money
are located away from the center of the area will not have to spent if the promotion is thoroughly done. (See “Results of a
travel so far to go for their lessons. Recent Presentation” below.)
The Program
Budget
A budget will be needed to cover the following: Have a registration table at the back of the church where ev-
eryone will sign in when first entering the church. The sign up
1 the purchase of a mailing list of all the Christian church- sheet should include columns for the following: name, home
es within the targeted geographical area. (Such a mail- church and denomination, town, and how each learned of the
ing list can be purchased from American Church Lists, event. The five musical selections performed should be short,
5711 S. 86th Circle, P. O. Box 27347, Omaha, NE 68127 very interesting, and each show a registration that depicts the
[888.733.1812 or 402.537.7914].) Mailing lists can be pur- specific organ family of tone being focused on. Try to obtain
chased by denomination and geographical areas—coun- (from a local pipe organ builder or organ maintenance per-
ty, state, zip code, or area code. Think in terms of all son) four small pipes, each from a different family of organ
the counties that are adjacent to the county in which the tone (a principal, flute, string, and reed). Show and blow each
event is to be presented, or even go out two counties in of these pipes before the short composition that demonstrates
each direction if funds allow. Opt to have each mailing that particular family of organ tone is played. If possible,
label include the specific name of the clergy person at have a little rack built that can hold and display all four pipes.
each church. (The mailing list could easily be 2,000 to Our experience has been that those at the event find the pipes
is a child or adult (11 or younger, 12 or older), and the days
Do You Enjoy Playing a Keyboard Instrument?
You Can Play the Pipe Organ, Too! of the week and the hours of those days that are the most
convenient for the student to take the group lessons. Stress to
Welcome . . . . . . . . . . . . . . . . . . . . . . . . Dean, the local AGO Chapter
those signing up that they should be honest and indicate only
Presentation the number of years they studied piano, not the number of
The Organ’s Four Families of Sounds years they have played the piano. If you do not stress this dif-
1. The Principals (A short musical selection is played.) ference, you will get numbers like 20, 30, 45, etc. in that col-
2. The Flutes (A short musical selection is played.) umn, which in no way will give an accurate reflection of their
3. The Reeds (A short musical selection is played.) actual level of playing. It is effective to conclude the program
4. The Strings (A short musical selection is played.) by singing a festive hymn, such as “Praise to the Lord, the
Full Organ (A short musical selection is played.) Almighty” LOBE DEN HERREN or “My Country ’tis of
Income Opportunities Thee” AMERICA. If possible, use a varied hymn harmo-
and Calling . . . . . . . . . . . . . . . . A member of the local AGO Chapter nization on the last verse. Such can be very effective. Then,
The American Guild of Organists . . . . . Dean, the local AGO Chapter again invite people to sign up for the group lessons.
Audience Volunteer Participation Limit each of the musical selections to no more than 3 min-
Question and Answer Session utes, each talk to 5 minutes, and the entire pro-
Three Free Group Lessons Information gram to no more than an hour. Keep it fast moving and short,
or you will lose the attention of the children that are there.
A Hymn (A festive hymn is sung.)
The Group Lessons
fascinating, both during the program and afterwards when Offering these free group lessons is much more inviting than
individuals can examine the four pipes more closely. The talk just offering beginning lessons for a fee. The prospective
on “Income Opportunities and Calling” (see “Packet” below) student feels that it can be tried without any long-term com-
can include the recommended salary guidelines adopted by mitment. The only financial investment is the purchase of a
the local chapter (a handout), or if none exist, copies of the beginning organ method book, appropriately chosen, based
AGO national guidelines can be discussed and given out. on the amount of keyboard background or lack of experience
The dean can talk briefly about the local AGO chapter and the student has had. Thus the student is much more willing
its varied offerings of programs each season, as well as the to participate.
national organization and The American Organist magazine.
Group the students according to their keyboard backgrounds
Have some copies of TAO at the event for people to examine
(skills) and ages. In the box below are listed the ages and skill
after the program. Also have AGO membership application
levels with recommended teaching books for each catego-
forms available and encourage the attendees to join, even
ry. All materials are published by Wayne Leupold Editions,
if they do not currently play the organ. For the “Audience
Inc.
Volunteer Participation,” ask for a volunteer who has had
keyboard training but does not play the
organ to come forward and try the or-
gan. A very easy but effective piece for Adults with no keyboard background (7th graders through adults):
Discover the Basics® Book B (WL600093)
this person to sight read is the “Trio on
Children with no keyboard background (2nd graders through 6th graders):
‘When I Survey the Wondrous Cross’”
Discover the Basics® Book A (WL600092)
HAMBURG in The First Organ Book,
Adults with one or two years of keyboard background:
on page 82 of the 2009 third, revised Discover the Organ® Basic Organ Repertoire, Level 1 (WL600065)*
and enlarged, edition (Wayne Leupold Children with one or two years of keyboard background:
Editions, Inc. WL600053). Invite ques- Discover the Organ® Basic Organ Repertoire, Level 1 (WL600065)*
tions that attendees may have about any Adults with three or four years of keyboard background:
aspect of the organ, the AGO, church Discover the Organ® Basic Organ Repertoire, Level 2 (WL600069)*
work, and related matters. Then the Children with three or four years of keyboard background:
offer should be made for anyone who Discover the Organ® Basic Organ Repertoire, Level 2 (WL600069)*
has never played or studied the organ Adults with five or more years of keyboard background:
to sign up for three free group lessons. First Organ Book (3rd ed., revised and enlarged) (WL600053)
Sign-up sheets should be available on a Children with five or more years of keyboard background:
table, for people to sign up immediately First Organ Book (3rd ed., revised and enlarged) (WL600053)
after the event. These sign-up sheets *Concerning all the students using various levels of the Discover the Organ®: Basic Or-
should include columns for the follow- gan Repertoire Series, if they continue with private lessons after the three free group les-
ing: name, phone number, address, city, sons, they also should begin in the same respective level of the Modern Keyboard Tech-
zip code, years of keyboard study (0–?), nique series (level 1, WL600084; level 2, WL600085; etc.) and in one of the supplemental
two columns to indicate if the student series (Christmas Season at the Organ or Easter and Pentecost Seasons at the Organ).
It is important to keep adults and children in separate groups newspaper editor(s) will remember the last time it was done,
because (1) they may tend to intimidate each other and (2) will consider it “old news,” and will not give much atten-
the lessons should be spaced at different time intervals for tion to it. Once the Greater Greensboro AGO chapter did the
adults than for children (see below). Do not combine any of workshop a second time eighteen months after the first event.
the different categories even if there would be only one or The first time there was a wonderful major article complete
two students in a category or even if some students end up with a photo. The second time all that was printed was a four-
receiving the three free lessons privately. line notice in a calendar of weekend events on the Saturday
religion page! The attendance was very disappointing.
For the groups containing adults, schedule each of the three
lessons two weeks apart. Usually, adults have more hectic Do include on the poster and in all publicity that the work-
schedules and only can do three or four practice sessions per shop is not only for children and adults with prior keyboard
week. Groups with children often can be done on a weekly training but also for anyone who wants to learn more about
basis, as they can be expected to practice on a daily basis. Do the organ and how to play it, even those who never have had
not make up lessons for any of those missed. It could be too any previous keyboard training. Teaching materials are now
complicated for the teacher. Many of the teachers who gave available for any and all types of interested individuals.
the group lessons found that the most convenient time for the
Different titles for the workshop have been used over the
three free lessons was on Sunday afternoons.
years (e.g., “An Introduction to the King of Instruments,” “An
Usually a few of the people who sign up for the lessons are Introduction to the Organ through a Chronological Survey of
unchurched and thus do not have any access to an organ for Organ Music,” “Meet the King of Instruments,” and “How
practice. Be prepared for this by asking some of the chapter the Organ Plays the World’s Music”). But we repeatedly re-
AGO members (ahead of the program) if they would seek turned to the current title because with the prominent place-
permission from their churches to allow such students to use ment of the personal pronoun, YOU, the title speaks so per-
their organs. Some of our most successful students have be- sonally and directly to the specific people in the community
gun under these conditions. we are targeting. Also, we feel that the current title is the
most effective title to immediately communicate the intent
A more detailed discussion of how to teach the group lessons
of the program.
is provided in the “Packet.” (See below.)
In designing the poster, have the size of the title be without
Do’s and Don’ts
question the most prominent element on the sheet. Do not
(Based on twenty years of developing this program) have a logo or any other information complete with the title.
Do the workshop on a Sunday afternoon (3–5 P.M.), not on When looking at the poster, the eye should immediately be
an evening or a Saturday. Sunday afternoons seem to be the drawn to the title and nothing else.
best time all week when the greatest number of people are In the mailing of the poster with the cover letter to churches,
not committed to other activities. That time also allows for address it to the minister, not the church musician. Usually
more people to come to the event from greater distances. Our the minister is the one on the church staff with the greatest
experience has been that Saturdays and weekday evenings interest in making sure his/her church has an organist.
have not been nearly as successful as Sunday afternoons.
However, certain unique local circumstances may encourage Don’t require preregistration to attend the program. Welcome
consideration of a time other than Sunday afternoons. everyone who attends.
We have found that the most successful times of the year Don’t charge a fee instead of giving the three group lessons
to do the DemoInfo program are in the early fall (mid- free. Only charge for the teaching book. Go the extra mile
September through mid-October) or at the beginning of a so both children and adults can try the lessons regardless
new year (January or early February). The date of the event of their financial situation. If possible, develop some schol-
should be chosen so that the follow-up group lessons are over arship funds for any financially needy students who show
before the beginning of Advent and Christmas seasons or the promise and wish to continue after the group lessons. Many
beginning of Holy Week. AGO chapters now have scholarship programs for children
studying the organ, some based on financial need and some
Do all the types of promotion discussed above (“The Event”), based on ability. Often students are required to have a certain
especially mailing to churches and piano teachers, newspaper level of keyboard skill to qualify. Others award simply based
articles, and having local music stores include the poster in on an appraisal of the potential of the student, even if they
all bags of piano music sold. If any of these four promotions currently have little or no keyboard skill. Such financial aid
are neglected, part of the targeted audience will never hear programs can be very useful as a follow-up to the free group
about the program. (See “Results of a Recent Presentation” lessons. AGO chapters should be encouraged to start such
below.) scholarship programs if they currently do not have any.
Do the event about every three to six years, but not every Call all the people who signed up for the three free group les-
year or even every other year. If it is done too frequently, the sons within two or three days after the program and begin the
lessons within two weeks after the program. Do not wait very mailing rate through a business of one of the AGO members)
long before beginning the lessons. People will lose some of was approximately $1,120. Fifty-three children and adults at-
their interest in taking the lessons if you wait too long and the tended. Below is a report of how each attendee learned of the
excitement and momentum from the program is lost. event, based on information from the registration sheets:
Don’t just send a publicity release or an article to the major • 24 from the pastor of their church via the poster/cover
newspaper(s). Make the extra effort to personally meet with letter from the church mailing (48%)
the appropriate editor. This cannot be overemphasized. If
• 14 from the newspaper article with a photo in the
you show that you care enough to go to the newspaper office,
Greensboro News and Record (28%)
it will impress and motivate the editor likewise to develop a
significant article (with photo). • 3 from piano teachers who had received the poster/cover
letter from the piano teachers’ mailing (6%)
The three group lessons are strictly for people who “have
never played the organ before.” Stress that restriction when • 1 from a poster included in a bag of piano music pur-
offering the group lessons at the workshop. A few adults who chased at a local music store (2%)
want to sign up will say that they have never had any formal • 8 by word of mouth from AGO members (16%)
organ lessons, but they are already playing an organ regular-
ly in a church (a pianist who has been put on an organ bench). Five people who could not attend called an information phone
These people want to sign up to learn more about the organ, number listed on all the promotional materials ahead of the
since often they really do not know much about what they are date of the event and signed up for the group lessons. Thirty-
doing! However, the purpose of the three free group lessons two of the fifty-three in attendance at the event signed up
is to encourage children and adults to try playing the organ for the three free group lessons. Thus, a total of 37 children
for the first time. Thus, the people who are already playing and adults signed up for the lessons. The table below gives a
the organ do not qualify. They are just looking for free infor- breakdown of how many were in each of the categories.
mation. Instead such individuals should be encouraged im- As the figures in the table show, 18 people who signed up
mediately to begin private lessons (for a fee) to better learn either canceled before the lessons began or did not take all
how to do what they are already attempting to do. three lessons. (This is not unusual.) One person who signed
Results of a Recent Presentation up actually was already playing the organ in a church and
On Sunday, October 19, 2003, the Greater Greensboro (North therefore was not eligible for the free lessons. Of the 19
Carolina) AGO chapter (a small chapter of 47 members with that took all three lessons, 17 have continued with private
a total annual budget of approximately $1,300) sponsored lessons. Of the two that did not continue, one dropped out
a DemoInfo program in the sanctuary of First Lutheran because she could not afford private lessons. Subsequently,
Church in Greensboro (a city of 200,000). The presenters the chapter has started a scholarship fund for future situa-
were Wayne Leupold, chairman of the event; Karen Brown, tions like this. Two additional students also were not going
the local dean; and Alice Ann Johnson, chapter member. to continue because of financial difficulties. In each case, the
The chapter had done a mailing of 2,892 posters (8½"x11") teacher decided to continue to give them free private lessons
on pink 20# bond paper, with a cover letter to the ministers since these two teachers were musicians who already were
of all of the Christian churches in eleven counties around being paid a full-time salary by their respective churches.
Greensboro. In addition, they had mailed posters with a cov- Additionally, one adult student of very modest means is a
er letter to all 100 members of the two piano teachers associ- immigrant from Russia who plays and teaches piano at her
ations in Greensboro and Winston-Salem, NC. The cost of all church. When members of that church learned that she was
these posters, cover letters, mailing labels, and postage (bulk beginning the study of the organ, two members came forward
took all three continued private

CATEGORIES signed up
lessons lessons
Adults (7th grade through adults) with no keyboard background 8 2 2
Children (Grades 2 through 6) with no keyboard background 1 1 1
Adults with 1 to 2 years of keyboard background 1 1 0
Children with 1 to 2 years of keyboard background 0 0 0
Adults with 5 or more years of keyboard background 22 12 10
Children with 5 or more years of keyboard background 0 0 0
Adults who went immediately to private lessons 2 0 2
TOTALS 37 19 17
and volunteered to pay for her lessons through special con- program has indeed been money well spent, long term, in the
tributions to the church. A ten-year-old boy began, and when continuation of our profession.
his church learned that he was beginning first-year keyboard
The Packet
study at the organ, they gave him their old electronic organ,
which they were replacing at that time with a new organ. A free packet of materials about the DemoInfo program is
As of this writing, out of the original 37 who signed up, 17 available to anyone interested. This DemoInfo packet in-
are now studying privately (46%). This is a very good rate cludes (1) copies of newspaper articles which discuss the
of continuance. The average from previous such events over shortage of organists throughout the country, (2) the post-
the last twenty years has been 30% to 40%. Therefore there er, (3) the cover letter to the clergy, (4) the cover letter to
are now 17 more organ students in the greater Greensboro the piano teachers, (5) the publicity release (news release),
area than there were a year ago! All of these students have (6) the actual program of the October 19, 2003, event in
expressed a desire to develop their skill to the point that they Greensboro, (7) the registration sheet on which all attendees
can begin to play in a church. The Greater Greensboro AGO sign in, (8) the sign-up sheet for the three free group lessons,
chapter can have every expectation that in a few years a sig- (9) the short program speech used in the DemoInfo program
nificant number of new organists will begin serving churches entitled “Income Opportunities and Calling,” (10) a list of
in the area, beginning to lessen the local shortage of organ- recommended organ teaching materials for the group lessons
ists. At the program the local dean talked briefly about the and thereafter for various levels of keyboard skill, and (11) a
AGO and passed out membership applications. Over the next more detailed discussion of how to give the group lessons.
two weeks eight people mailed in the application and joined For a free DemoInfo packet contact Wayne Leupold Editions,
the chapter—a 17% increase in chapter membership! The Inc., 8510 Triad Drive, Colfax, NC 27235; phone: 1-800-765-
chapter feels that the money and time spent on this outreach 3196; email: [email protected]; or Internet: www.
wayneleupold.com.
Marygrove College Presents a DemoInfo Program

by Sue Ann Vanderbeck Lenz, Professor of Music, Marygrove College
DemoInfo Program the DemoInfo program.1 Below is a report of how each at-
On June 13–17, 2004, the Music Department of Marygrove tendee learned of the event, based on information from the
College in Detroit, Michigan, sponsored a series of events registration sheets.
focused on recruiting and teaching new organ students. The
28 from the flyer mailing (51%)
guest clinician for all the events was Wayne Leupold. 8 by word of mouth in the Marygrove music department
The opening event on Sunday, June 13, from 3:00 p.m.–5:00 (14%)
p.m. was a DemoInfo program, presented in the Sacred Heart 7 from piano teachers who had received the poster from the
Chapel at Marygrove. The presenters were Wayne Leupold; mailing to piano teachers (13%)
Elaine Grover, associate professor of music and coordinator 6 by word of mouth from friends (11%)
2 from a small newspaper article (3%)
of sacred music at Marygrove College; Craig Symons, dean
1 from a poster included in a bag of music purchased at a
of the Detroit AGO chapter; David Palmer, professor of or- local music store (2%)
gan at the University of Windsor, Windsor, Ontario, Canada; 1 from an AGO member (2%)
and Marygrove sacred music alumni Steve Hansen, Joan 1 from the poster on a bulletin board at the University of
Iwankovitsch, Jeanine Reaume, and Annette Wright. Michigan (2%)
The program opened with an introduction by Elaine Grover, 1 from a Website (2%)
followed by a welcome from Dr. Glenda Price, president of Several people called who could not attend the event and
Marygrove College. Five short selections from various Organ requested to be on the list for the free group lessons.
Demonstrators were then performed, which demonstrated the
(The above data was taken from those who signed the reg-
four families of organ tone and full organ. There were short
discussions of income opportunities, the organist’s calling, istration form or called.)
and the AGO, followed by an offer of three free group les- 40 people of the 80 in attendance at the event signed up for the
sons. The program concluded with the singing of a hymn. three free group lessons. An additional 4 people who did not
The college sent a mailing of 2,343 posters (8½"x11" on pink attend the program signed up after the event. An additional 9
20# bond paper) with a cover letter to the ministers of all adults proceeded immediately to private lessons. Thus a total
Christian churches in 10 counties around Detroit. In addi-
1 A very small article appeared in a neighborhood newspaper, but
tion, in Detroit and Ann Arbor, the college distributed post-
no major article appeared in either of the major Detroit newspa-
ers to local music stores for their customers. The cost of all
pers (the Detroit Free Press and the Detroit News). Without this
these posters, cover letters, mailing labels, and postage was segment of promotion, the attendance figure of 80 is even more
approximately $978.00. Eighty children and adults attended impressive!
signed up for group currently
took all three
CATEGORIES lessons or immediately continuing
group lessons
for private lessons private lessons
Adults (7th grade through adults) with no keyboard background 14 8 8
Children (Grades 2 through 6) with no keyboard background 1 0 0
Adults with 5 or more years of keyboard background 17 5 3
Children with 5 or more years of keyboard background 6 6 6
Adults who went immediately to private lessons 9 n/a 7
TOTALS 53 24 29
of 53 children and adults signed up for either private lessons The DemoInfo program is extremely important. It directly
or beginning group lessons (3 or fewer per group). The table addresses the serious shortage of organists and promises to
above gives a breakdown of how many people of the total 53 help maintain the rich musical heritage of the church. For
were in each of the categories. more information about the success of Marygrove College’s
DemoInfo program and the organ pedagogy conference that
The DemoInfo program at Marygrove was extremely suc-
followed it, please contact Elaine Grover by phone at 734-
cessful, inspiring many to begin or resume organ lessons. The
459-6685 or by email at [email protected].
event is an excellent means for increasing public awareness of
the organ and sparking interest in the study of the instrument.
Effective Practicing Skills
by Wayne Leupold
Keep all parts of the body as RELAXED as possible. Good posture is the basis for relaxed playing. Keep the backbone, neck,
and head in proper alignment. All movements of the body should be balanced and planned with economy of motion. Avoid
unnecessary motion. Always prepare each movement of the hands and feet in advance.
Learn the DIFFICULT SECTIONS of a composition FIRST so that they will have been known the longest and practice them
each day early in your practice session when your mind is the most alert.
The MIND should always be INVOLVED, leading and directing the body. Never let it wander! CONCENTRATE.
An important aspect of developing CONCENTRATION in your practice is GIVING YOURSELF SOMETHING TO
THINK ABOUT, such as on the melody, the harmony, the pedal part, how the body has to keep balanced, the sounds, or
the textures. The more specific and defined the ideas, the more meaningful the concentration and thus, the more effecting
and successful the practice. SET GOALS to keep your mind focused, such as playing small sections THREE TIMES IN
A ROW PERFECTLY before moving on to practice the next small section. When the small sections can be played well,
begin to combine these small sections into larger sections again with goals of a number of perfect repetitions in a row. These
repetitions should be conscious and purposeful, reflecting focused mental activity and never just mechanical reflex motions.
Always keep thinking about what you are doing.
A MISTAKE usually occurs because the player does not know either what the correct key is or where it is. Analyze mistakes
to learn what caused them. Repeatedly playing incorrect notes, incorrect rhythms, or at uneven tempos reinforces the mistakes.
Do not let such things go uncorrected. When you have finished a section in which you have made a mistake, go back and play
the short passage where the mistake occurred, CORRECTLY SEVERAL TIMES IN A ROW.
After practicing a passage several times, SLOWLY (at least half tempo), SILENTLY THINK through it without playing. Be
aware of all aspects of what the body needs to be doing: balance, fingerings, pedalings, preparations of shifts of the hands and
feet, what the lines and chords “feel like” in the hands and feet, and most important, what the music sounds like.
Usually there are too many SYMBOLS on a musical score for the eyes to see them all at the performance tempo. During
practice decide what you need to see and what you don’t. Train your eyes to move easily from one important signal or symbol
to another, leaving the rest to your memory. Thus, part of the process of LEARNING during practicing IS MEMORIZING
certain aspects of the music. The faster the tempo, the more important this procedure becomes.
For a more expanded discussion of practice techniques see Keyboard Practice Skills by Elaine Grover (Wayne Leupold
Editions, Inc., WL800007).
Developing A Second-Hand Electronic Organ Clearing House
by Wayne Leupold
Many children can develop an interest donor’s location to the storage area and then C. If the donor is a church, it also should
in the organ; however, they are often from the storage area to the organ student’s realize that such an AGO program would
stymied by not having access to one on a home. Usually a music store that sells havedistinct,long-termbenefitsforsustaining
daily basis in order to develop basic skills. organs can be persuaded to handle the task music ministries in the community.
Electronic organs were first developed for free publicity in the AGO newsletter,
over 75 years ago. Today, there are many such as “[X Company is] a supporter of the Below is a notice that was placed in the
older instruments in churches and private AGO and this specific program.” newsletter of the Greater GreensboroAGO
homes that are rarely, if ever, used. Each Chapter at the program’s inception.
year, many churches discard and replace 5. The instruments accepted into the
Second-Hand Electronic Organ
old organs with new models because of program should have a full two manuals,
Clearing House
minor mechanical problems or the desire and an AGO-style 32-note pedalboard.
to have more versatile instruments that rely The Greater Greensboro Chapter of
6. Develop a set of procedures and policies the AGO has begun a Second-Hand,
on current technology. Many organists and
declaring the eligibility requirements for Electronic Organ, Clearing House
organ enthusiasts also own instruments
the loan of such an instrument. These (SHEOCH). This is a program to
and at various points in their lives must
may include the following: recycle second-hand, electronic
dispose of them for various reasons. Often
these instruments end up in music stores, organs for use by local young organ
A. The young organ students must be students, third grade through twelfth
which usually do not want them, or, worse between the third and twelfth grades and
yet, in the local dump! grade, who otherwise might not have
would not otherwise have access to an the availability of an organ on which
A more positive and beneficial possibility organ on a daily basis. to practice. These instruments will
for utilizing these pre-owned instruments B. Each student may have the loan of an be loaned to young students as long
is to recycle them through a non-profit instrument, as long as they study the organ. as they study the organ. If you have
organization, such as an AGO chapter. In C. Each student must study with a qualified an electronic organ you no longer
that way, young organ students can have teacher who is a member of the AGO. need or use, know of someone in
daily access to an organ for developing basic D. The loan of an organ is awarded on a such a situation, or know of a church
playing skills. A number of AGO chapters yearly basis and must be reviewed and that intends to discard one, our
have already begun such programs with renewed annually. executive committee encourages such
great success. Several things are needed to people to consider donating it to our
ensure a successful program. 7. The program could be coordinated with
chapter. It would be a tax-deductible
any student–organ scholarship program
contribution. The organ must have a
1. Appoint a committee and/or a coordinator. that the chapter may already have in
32-note, AGO style pedalboard. The
place. Thus, if a student is awarded a
2. Obtain a location, preferably donated, chapter has received commitments
scholarship, he/she also is eligible to have
for the storage of these instruments from individuals and companies,
the loan of a second-hand organ, as long
until they are loaned to an individual(s). so that donated instruments can be
as they continue to study seriously.
Such a location could be in someone’s moved, reconditioned, and stored.
large garage, a storage company of a 8. When the loan program terminates The SHEOCH program will be
sympathetic owner, or a local music with a student, the instrument is returned coordinated with a scholarship
store with some extra storage space. to the AGO chapter and reconditioned, program the chapter is initiating. If
if necessary, before being loaned to you have any questions or wish to
3. Find a volunteer with expertise in another student. donate an organ, please contact XXX;
electronics who is willing to recondition phone: home, work; email.
the instruments, fix any malfunctions, and 9. The program is truly a winning situation
for all concerned, including the donors. It is really surprising how easily “needed
restore them to good operating condition.
volunteers” are obtained once the end
Today, many people have such skills, not
A. The donor is often looking for a way to goal is presented as the development
necessarily just electronic technicians, who
get rid of the organ, to have someone take it of more young organists. Everyone is
work for music stores that sell electronic
away, and, thereby, to obtain a tax reduction increasingly aware of and concerned
organs. The chapter may have to provide
for a donation to a non-profit organization. with the growing shortage of organists
the money for a few minor new parts.
B. The donor also will feel very good in most areas of this country. Such
4. Find a volunteer or a business that owns knowing that the instrument will continue programs by AGO chapters will have
a small truck or van that is willing to move its usefulness by assisting in the training a positive long-term effect toward the
these instruments when needed: from the of a younger generation of organists. continuance of our profession.

THE ORGANIST’S
COMPANION
A bi-monthly journal of quality organ music for the practical church musician
edited by
WAYNE LEUPOLD and MARYA ORLOWSKA-FANCEY
The Organist’s Companion™

• For all church musicians: organists, pianists, and amateur keyboardists
• Various major historical periods and styles in every issue
• A range of easy (with and without pedals) to early intermediate (easy pedal)
• Tasteful and tonal contemporary music; Hymn-based and free compositions
• Informational and humorous articles included
• For liturgical and non-liturgical services
• Urtext editions
• The bi-monthly issues are organized as follows:
November–December General, Advent, Christmas, Epiphany
January–February General, Lent, Holy Week, Funerals
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Subscribers of the recent six issues (November 2012–September 2013) received organ compositions by the following
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“. . . outstanding original organ music, both old and newly composed. . . .

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attractive 18th- and 19th-century selections is always a surprise as is the freshness and suitability of the new works
especially composed for this series. You cannot go wrong with a subscription to The Organist’s Companion.”
Rollin Smith
The American Organist, June 2013
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Teach the Organ!

A Handbook for Organ Teachers

Wayne Leupold Editions, Inc.

PedXTend® FREE NEWSLETTER

Our Philosophy of Teaching the Organ

Teacher Assistance Hotline

© 2013 by Wayne Leupold Editions, Inc. Page 1

3. KEYBOARD: LOCATION, HEIGHT, AND LIGHTING

4. PRACTICE TIME AND SUPERVISION

6. COORDINATING PLAYING AND WRITTEN WORK

10. POSITIVE REINFORCEMENT

11. PARENTAL INTEREST

© 2013 by Wayne Leupold Editions, Inc. Page 3

A Beginning Keyboard and Pedal Method for the Organ

Upon completion of Book D of Discover the Basics®, the student

  

Ornaments mordent (); single trill (, ) any ornament

Page 4 © 2013 by Wayne Leupold Editions, Inc.

Page 6 © 2013 by Wayne Leupold Editions, Inc.

Discover the Organ®

© 2013 by Wayne Leupold Editions, Inc. Page 7

© 2013 by Wayne Leupold Editions, Inc. Page 9

Page 10 © 2013 by Wayne Leupold Editions, Inc.

Historical Organ Techniques and Repertoire

© 2013 by Wayne Leupold Editions, Inc. Page 11

For Very Young Children (Preschool through Lower Elementary)

For Young Children (Upper Elementary)

Wayne Leupold Editions, Inc.

© 2013 by Wayne Leupold Editions, Inc. Page 13

Page 14 © 2013 by Wayne Leupold Editions, Inc.

© 2013 by Wayne Leupold Editions, Inc. Page 15

Senior Organist’s Assistants Program*

Needed: Young people between 7 and 11 years of age.

Job Description: 1) assistant to the senior organist, Wayne

Notice in Monthly Church Newsletter

Page 16 © 2013 by Wayne Leupold Editions, Inc.

ORGAN ASSISTANTS: This morning we are beginning a new program

Part of My Staff Report at Semi-Annual Congregational Meeting

Senior Organist’s Assistants Program

Each Sunday in the Church Bulletin, directly underneath the

After the service, the Organist’s Assistant signs the “Guest

© 2013 by Wayne Leupold Editions, Inc. Page 17

From left to right: Wayne Leupold, Ben White, Tanner Sexton,

From left to right: Wayne Leupold, Ben White, Tanner Sexton,

Page 18 © 2013 by Wayne Leupold Editions, Inc.

Back row, left to right: Wayne Leupold; Laura White; Ryan

From left to right: Wayne Leupold, Ryan Thornton, Megan

November 14, 2004

From left to right: Wayne Leupold, Tanner Sexton, Ryan

© 2013 by Wayne Leupold Editions, Inc. Page 19

Addendum: Questionnaire for Academy Open House

Organ Questions to Think About:

Page 22 © 2013 by Wayne Leupold Editions, Inc.

© 2013 by Wayne Leupold Editions, Inc. Page 23

Page 24 © 2013 by Wayne Leupold Editions, Inc.

© 2013 by Wayne Leupold Editions, Inc. Page 25

Page 26 © 2013 by Wayne Leupold Editions, Inc.

© 2013 by Wayne Leupold Editions, Inc. Page 27

From the September 2012 issue of The American Organist Magazine.

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