Welcome to the New Ward

Organist!

This packet is designed to be used

in conjunction with our YouTube
Series. You can view the videos here:

https://www.youtube.com/channel/UCx4LzmaxMI1CpEk-i25yqvQ
Lesson 2
 Organ Console Worksheet
For practice: take what you learned from the video and label
these parts of the organ console.
 Organ Console Worksheet Answers

Stops (these are

"rocker tabs") Swell manual

"On" button

Great manual

Cancel button

General thumb Divisional thumb

pistons pistons

Toe studs
Expression Pedal

Bench adjustment
handle
 Organ Shoe Worksheet
For practice: take what you learned from the video and write in
the 5 criteria of an ideal organ shoe.
 Organ Shoe Worksheet Answers

FIT - laces or strap to hold

shoe snugly to the foot

HEEL - 34" to 1 1/4" tall, wide enough

to not easily fit between the pedal
keys; leather or suede that slides UPPERS - flexible, lightweigt leather
easily on keys or synthetic; shoes don't stick or
squeak against each other

INSTEP - should have space for toe

and heel to "straddle" a natural key
SOLE - thin leather or suede,
trimmed flush with the side of the
shoe. Slides easily on the keys
 Bench Adjustment Worksheet
For practice: take what you learned from the video and write in
these six checkpoints for adjusting the bench.
 Bench Adjustment
Worksheet Answers

Bench is far enough up that

you don't have to lift your
legs to keep from pressing
the keys

Right foot can rest flat on Bench is far enough

the expression pedals down that you can
play a natural key
with either heel
without having to
Sit centered lean back or press
over the D in your leg into the
the middle of Bench is far enough up
bench
the pedalboard that you don't have to
lift your legs to keep
from pressing the keys

Toes rest just clear

of the black keys
Lesson 3
 Common Stop Names

Principals
Principal Flutes
Diapason Harmonic Flute
Octave Gedeckt
Super Bourdon
Octave Subbass
Choral Bass Koppelflote
Prestant Blockflote
Fifteenth Nazard
Mixture IV Tierce

Strings Reeds
Viola Trumpet
Viola Tromba
Celeste Posaune
Gamba Oboe
Salicional Krummhorn
Violone Bassoon
Clarinet
Tuba
Hybrids Clarion
Gemshorn (flute/string) Fagott
Spitzflote (flute/string) Cromorne
Erzähler
 Practice Categorizing Stops
Test yourself. Use the word bank
below or your own organ!

Trumpet Diapason Clarion

Salicional Harmonic Flute Octave
Gedeckt Oboe Spitzflote
Viola Choral Bass Gamba
Principal Bourdon Pousane

Principals Flutes

Strings Reeds

Hybrids
 Pitches of Organ Stops
When we engage a stop on the organ, we activate a set, or rank,
of pipes. The foot designation, given in Arabic numerals, refers to
the length of the lowest pipe in that rank. The speaking pitch of
each numeral is listed below.

32' 16' 8' 4' 2'

2 octaves 1 octave concert 1 octave 2 octaves
lower lower pitch higher higher

Mutations
Stops with fractions are called mutations.They add overtones to
a stop combination that produce various colors. They are never
used alone, but rather, in combination with other foundation
stops.

2 2/3' = one octave and a perfect fifth higher

1 1/3' = two octaves and a perfect fifth higher

1 3/5' = two octaves and a major third higher

On the Staff
Concert Pitch
 Registration Examples
Chorus Registration
A typical registration for a meditative hymn:
Great: Principals 8’ & 4’
Pedal: Principals 16’ & 8’ (or Principal 16’, Great to Pedal)

Another effective approach is to substitute a flute for a principal at the

highest pitch in the manual and pedal, respectively. This creates a
more subdued tone.
Great: Principal 8’, Flute 4’
Pedal: Principal 16’ Flute 8’ (or Principal 16’, Great to Pedal)

A typical registration for a jubilant hymn:

Great: Principals 8’, 4’, 2’
Pedal: Principals 16’, 8’, 4’ (or Principal 16’, Great to Pedal)

Here is the same registration with the mixtures added to the Great and
Pedal. The mixtures add brilliance to the tone.
Great: Principals 8’, 4’, 2’, Mixture
Pedal: Principals 16’, 8’, 4’, Mixture (or Principal 16’, Great to Pedal)

Solo and Accompaniment Registration

Lesson 4
Registration 2 OrganTutor Organ 101

COMMON STOP NAMES LISTED BY PIPE CATEGORY

AND FAMILY OF ORGAN TONE
See the OrganTutor lesson, “Families of Organ Tone.”
Study goal: if you see one of these stop names, know immediately to which family of organ tone it belongs.
For some helpful electronic flash cards, visit flashcardmachine.com and find “Organ Stops by Family2”.
FLUE pipe category REED pipe category
Flute family Principal family String family Reed family
Blockflöte Choral bass Aeoline Chorus reeds
Bourdon (– doux, Contre –) Diapason Cello Basson (Contre –)
Chimney flute Double diapason Echo gamba Bombarde
Clarabel(la) Doublette Fugara Clairon (Clarion)
Copula Dulciana Gamba Doucaine
Cor de nuit Fifteenth Salicet Dulzian
Doppelflöte Montre Salicional Fagotto (Fagott) [bassoon]
Fife Octave (Oktav) Unda maris (pronounced “fuh-GOT”)
Flachflöte Open diapason Viola French trumpet
Flautino Prestant Viola da gamba Hautbois [oboe]
Flauto dolce Principal (Prinzipal) Viola celeste Oboe
Flûte (– à bec, – à fuseau, Quint(e) Viola pomposa Posaune [trombone]
– bouchée, – celeste, Spitz prinzipal Violone (Contre violone) Rankett
– harmonique, – ouverte) Super octave Voix celeste Tromba
Gedackt (Gedeckt) (– flûte) Twelfth Trompette (Trompete)
Harmonic flute Trumpet
Hohlflöte Chorus mixtures: Waldhorn
Holzgedackt (Plein jeu, Mixture,
Koppelflöte Fourniture, Cymbal, Solo reeds
Larigot Scharf, Acuta) Clarinet
Lieblich gedeckt Cromorne
Melodia English horn (Cor Anglais)
Nachthorn Festival trumpet
Nazard (Nasard, Nasat) French horn
Octavin Horn
Open flute Krummhorn
Orchestral flute Regal
Piccolo Rohrkrummhorn
Pommer Rohr schalmei
Quintatön (Quintadena) Schalmei
Quintflöte Tuba (– mirabilis)
Rohrflöte
Sifflöte
Spillpfeife Other reeds
Stopped diapason Vox humana (Voix humaine)
Subbass
Tibia
Tierce (Terz)
Traverse flute
Waldflöte
Zauberflöte
Solo mixtures--Cornet II or III, Sesquialtera II (These are usually flutes unless they are found
on the Great, in which case they are usually Principals)
Hybrid stops (share characteristics of more than one family) Some stop names that can
Erzähler easily be identified with the
Geigen (– diapason, – principal) wrong family are underlined.
Gemshorn, Gemshorn celeste
Spitzflöte
 OrganTutor Organ 101 Manual 23

LEGATO FINGERING TECHNIQUES

For video demonstration of any fingering technique exercise, see the
corresponding OrganTutor Online lesson in the “Manual Technique” unit.

The legato style is useful in playing much organ music of the nineteenth and twentieth centuries and in
hymn playing. Several of the legato techniques can also be applied (sometimes in modified form) in the
more articulate playing style of earlier organ music. To master the legato style of organ playing, each organ
fingering technique must be fully integrated into your own manual technique.

The experienced pianist may feel at first glance that some of these exercises offer little challenge. However,
the discipline required to master the pertinent details of technique and to drive them into the subconscious
mind sometimes poses a challenge to even the finest pianist. Remember the cardinal rule:

ALWAYS PRACTICE SLOWLY ENOUGH TO STAY IN CONTROL

Be sure to avoid the pausing and stuttering that characterize undisciplined and unproductive practice.

DIRECT FINGERING
See the OrganTutor Online video demonstrations in “Direct Fingering.”

LEADING UP TO DIRECT FINGERING

As you begin exercises in organ fingering techniques, it is assumed that you can already read music and play
the keyboard. Piano training is in the background of most beginning organ students. If you have not yet had
fairly thorough piano training, these exercises may be difficult. It is strongly advised that thorough piano
training come before organ study.
The skills and concepts introduced in the following lessons should be mastered before beginning these
exercises:
• Listening Skills for Practice
• Nature of Organ Tone

DIRECT FINGERING

Direct fingering is familiar to pianists:

• playing adjacent fingers (those next to one another) on adjacent keys
• extending the hand position to reach non-adjacent keys
• compressing the hand position without using one of the other fingering techniques (such as
redistribution, crossing, substitution, glissando).
This is the simplest of all of the fingering techniques because the fingers are positioned naturally over the
keys.
Manual 24 OrganTutor Organ 101

The simplest form of direct fingering places adjacent fingers on adjacent keys. A modified form of direct
fingering allows the extension or compression of the hand.
• Using an extended form of direct fingering, the hand stretches slightly to cover more than five keys.
Fingers 1, 2, 3, 4, and 5 might play C, E, F, G, and A, skipping D.
• Using a compressed form of direct fingering, the hand compresses slightly, to cover LESS than five
keys. Fingers 1, 3, 4, and 5 might play C, D, E, and F.

DO THESE. Developing this one habit will lead to effective use of direct fingering: minimize motion
above the key. Since the amount of pressure applied to the key will make no difference in the volume of the
tone, to approach the key from a large distance above is wasted motion. Also, remember to apply the three
listening skills: precise releases, perfect legato, and independence of line.

Both hands
on Great

The following exercise explores the stretching (see “s”) and compression (see “c”) of the hand
position to shift the hand position without using crossing, substitution, or glissando.
 Fingering Techniques: Finger Crossing Manual 25

FINGER CROSSING
See the OrganTutor Online video demonstrations in “Finger Crossing.”

LEADING UP TO FINGER CROSSING

The skills introduced in the following lessons should be mastered before beginning these exercises:
• Listening Skills for Practice
• Nature of Organ Tone
• Direct Fingering
Be able play a good legato line with direct fingering before working on finger crossing.

FINGER CROSSING

Finger crossing is familiar to pianists, especially in scale-like passages. In the simplest form of finger
crossing the thumb passes (“crosses”) under longer fingers or the longer fingers pass over the thumb. Finger
crossing is used even more extensively by the organist. In order to maintain a good legato at the organ,
many unusual types of crossings will be needed. Fingers 2 and 3 will cross, as will fingers 3 and 4, and
especially fingers 4 and 5. Even non-adjacent fingers will cross–3 and 5, for example. However, to introduce
this technique we will concentrate mostly on the crossing of adjacent fingers.
DO THESE. Developing these habits will lead to effective use of finger crossing:
• Of the three listening skills, listen particularly for perfect legato.
• Keep the fingers well curved and prelocated over the next key. This requires short fingernails.
• Usually cross the longer finger on top of the shorter one, or the shorter finger under the longer
one. However, factors such as hand size and the “fit” of fingers between sharps may clll for the
opposite. Follow what seems most effective and natural to your hand for each situation.
• Develop great flexibility in every finger. This calls for exercising new muscles, and will probably
take some time. Expect the fingers to bend as much as possible rather than twisting the hand
excessively or merely shifting the hand to achieve the crossing. You might strengthen the fingers
by squeezing a tennis ball repeatedly in your spare time, and by carefully stretching the individual
fingers from side to side for thirty seconds at a time.
AVOID THESE problems that can easily occur when applying finger crossing. Each one causes a non-legato
connection, a ragged attack, or both:
• playing with straight, stiff fingers
• crossing shorter fingers over longer ones, or longer ones under shorter ones. (Under some
circumstances, however, this may seem more natural and can have a good result.)
• an inflexible, “lazy” finger motion, requiring the hand to “pull” the finger where it needs to be
• excessive twisting or quick shifting of the hand
• allowing non-legato connections where legato is intended
Manual 26 OrganTutor Organ 101

EXERCISE 1a
Exercises 1a presents an ascending and a descending scale played with three different fingerings for each
hand. Practice each fingering (always hands alone) until it is perfected. Next, compare the scale played
using that fingering with the scale played using the normal direct fingering. “Normal” fingerings for these
exercises would be as follows:
• Right hand: 1 2 3 4 1 2 3 1 2 1 3 2 1 4 3 2 1
• Left hand: 5 4 3 2 1 3 2 1 2 1 2 3 1 2 3 4 5
The Main Point: Listen carefully for the same perfect legato when using either fingering.
Master each of the six fingerings given for exercise 1a.

EXERCISE 1b
Exercise 1b presents another ascending and descending scale played with two different fingerings for each
hand. Practice each fingering (always hands alone) until it is perfected. Next, compare the scale played
using that fingering with the scale played using the normal direct fingering. “Normal” fingerings for these
exercises would be as follows:
• Right hand: 1 2 3 1 2 3 4 1 2 1 4 3 2 1 3 2 1
• Left hand: 5 4 3 2 1 3 2 1 2 1 2 3 1 2 3 4 5
The Main Point: Listen carefully for the same perfect legato when using either fingering.
 Fingering Techniques: Finger Crossing Manual 27

EXERCISES 2-3
Finger crossing is often necessary when involving different parts of the hand makes the more efficient
direct fingering impossible. Crossing is also used to reposition the hand, as in scale fingering. Exercises 2-3
involve all five fingers of a single hand in various ways.
Before playing the exercises as written, practice the moving eighth-note line alone with the correct
fingering. Later add the whole notes, feeling extra weight in these sustaining notes while the fingers that
play the moving line feel lighter.

right hand
Manual 28 OrganTutor Organ 101

EXERCISE 4
This exercise explores crossing in the context of two independent lines. Short scale-like passages present
themselves in one part against long sustained notes in another. The “heavy-light” relationship changes in
each measure: The high part begins as the moving line, then becomes the sustained note, then the moving
line, the sustained note, etc. Feel the weight shifting from one part of the hand to the other–heavy on the
finger playing the sustained note and light on the fingers playing the moving line.
See that each whole note sustains for four full beats–until the first beat of the following measure. Do not
release early. Also, because fingers 1 and 5 must play sharps, curve the fingers well to avoid hitting pistons.

EXERCISE 5
This exercise explores crossing in parallel thirds with a single hand. The crossings occur between fingers 1
and 2, and between fingers 4 and 5. Practice hands separately only.
This technique is used rather often in organ literature and in hymn playing. The most common mistake is
allowing a non legato connection when fingers 4 and 5 attempt to cross. To prevent this:
• Use just enough weight in the hand.
• Be sure that both fingers 4 and 5 are doing their share of bending. Finger 5 must develop the
flexibility to bend underneath finger 4, and finger 4 to bend over finger 5.
Lesson 5
 The NWO Lesson 5: Pedal Technique
Pedal Technique

Checkpoints
1. Keep your eyes up
2. Keep the heels (or heel/arch) together when toes reach up to a 4th apart
3. Keep the knees comfortably together when feet play up to an octave apart
4. When playing white keys, play just clear of the black keys
5. When playing black keys cover half of the key or less with your toe
6. Tip the feet inward and play on the inside edge of the bottom of the foot
(exception: when reaching the right foot to the far left of the pedalboard or
the left foot to the far right, it is okay to tip the foot outward)
7. Pre-locate: as soon as a foot finishes playing a key, prepare that foot over
the next key.

Exercises

1. Alternating toes
1. Alternating toes

? bbb ^ ^
bbb w
^ ^
. . .
^ ^ ^ ^ ^
2. Alternating
2. Alternating toes
toesand heels
and on the
heels on same foot foot
the same

o o o o o o o
? bb
46
o
b .
^

o
^ ^ ^

o o o b . o o
? b
^ ^ ^ ^
b
 Exercises for Marking Pedaling

1. Easy: Silent Night

2. Easy: Nearer, My God, to Thee

Difficult: O Savior, Thou Who Wearest a Crown

3. Difficult: O Savior, Thou Who Wearest a Crown
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 Pedal Technique

9. Crossing

10a. Toe glissando: black-black

 Pedal Technique

10b. Toe glisssando: black-white

11. Substitution between feet

12. Substitution in one foot

Lesson 6
 OrganTutor Organ 101 Registration 7

CHORUS REGISTRATION
See the OrganTutor lesson, “Chorus Registration.”

FOR WHAT KINDS OF PIECES DOES ONE USE CHORUS REGISTRATION?

Chorus registration is used in music where all voices are equally important and no one voice predominates.
Texture is chordal or layered, with both hands generally playing several voices at a time on a single manual.
Congregational hymns played in their normal arrangement nearly always employ chorus registration, as do
Bach preludes, toccatas, and fugues.

RULES FOR FORMULATION OF CHORUS REGISTRATIONS

1. Stops of the principal (diapason) family are preferred. If no principal stop is available at the desired
pitch, or if you prefer a softer chorus, a clear flute stop such as a Gedeckt may be used. Chorus mixtures are
an important element of most chorus registrations.
2. Choruses are built upwards from a foundation of 8' pitch on the manuals and 16' pitch in the pedals.
They usually consist of at least two stops of different pitch. In rare cases where extra gravity is desired,
the 16' manual stops and 32' pedal stops may be used. A brilliant chorus might include 8', 4', 2' stops plus
a mixture. A chorus of moderate strength might include 8', 4', and 2' stops. A milder chorus would include
only 8' and 4' stops.
3. Where clarity is important, build vertically, using only one stop at each pitch level (e.g., 8' Principal,
4' Octave, 2' Fifteenth). Where richness is more important, use a “pyramid” configuration, with more than
one stop at lower pitch levels (e.g., 8' Principal, 8' Bourdon, 4' Octave, 4' Flute, and 2’ Flute). Lean towards
clarity for Baroque music (17th and 18th centuries), and richness for Romantic music (19th century).
4. Avoid gaps between octave pitches as you build up. For example, 8'/4'/2' and 16'/8'/4' are preferable
to 8'/2' and 16'/4' (although the latter can be quite useful in solo lines where color is desirable).
5. Reed stops may be used to augment a chorus of flue stops. The reed will blend best when a mixture
is also contained in the chorus. For example, you may add an 8' trumpet to a combination consisting of 8',
4', and 2' principals and mixture. Reed stops are particularly appropriate at climactic points in the music
(e.g., on the last verse of a jubilant hymn).
6. Avoid soft stops which make little or no difference to the sound. Especially avoid celeste stops,
which are intentionally detuned and take away from the clarity of the ensemble.

AESTHETIC CONSIDERATIONS FOR CHORUS REGISTRATIONS

1. The chorus should be of the appropriate volume for the music being played. Festive music calls for
a bright and loud chorus including higher stops, mixtures, and possibly reed stops. More reflective music
calls for a softer chorus consisting primarily of 8' and 4' principals or flutes.
2. Balance between the manuals and pedals is very important, as is balance between the individual
stops. For example, a chorus registration made up of gentle flutes on the manuals and strong principals in
the pedal will allow the manual parts to be swamped by the pedal part. A chorus of 8' flute, 4' flute, and 2'
principal may be “top-heavy” and possibly shrill, while a chorus of 8' principal, 4' flute, and 2' flute might be
“bottom-heavy” and lack clarity.
3. Clarity is critical since all of the voice parts or melodies will be played on the same sound. Listen
carefully and be sure that all voices can be heard clearly. If not, consider thinning out the combination.

SOME TYPICAL CHORUS REGISTRATIONS • (mf-f): 8' principal, 4' principal, 2' principal
• (mp): 8' flute, 4' flute • (f): 8' principal, 4' principal, 2' principal, mixture
• (mf): 8' principal, 4' flute • (ff): 8' principal, 4' principal, 2 2/3' principal, 2'
principal, mixture, 8' reed
• (mf): 8' principal, 4' principal • (fff): 16' flute, 8' principal, 4' principal, 2 2/3' princi-
pal, 2' principal, mixture, 8' reed, 4' reed
 Fingering Techniques: Finger Substitution Manual 29

FINGER SUBSTITUTION
See the OrganTutor Online video demonstrations in “Finger Substitution.”

LEADING UP TO FINGER SUBSTITUTION

The only manual organ technique that must be mastered before study of finger substitution is direct fingering.
However, finger crossing is also helpful. Be sure that you can produce a good legato line with direct fingering
before working on finger substitution.

FINGER SUBSTITUTION

Finger substitution–replacing one finger by another while holding the key down in order to free the first
finger–is less familiar to pianists than direct fingering or crossing. However, most pianists use it instinctively
when they first try to play the organ. A free finger will instinctively come to the aid of a busy one that needs
to move somewhere else quickly. Substitution seems like a natural way to compensate for the absence of a
sustaining (damper) pedal at the organ.
Finger substitution is notated with a curved or straight line between finger numbers.

CHARACTERISTICS
Poorly-planned fingering may cause the organist to overuse substitution. The time you spend carefully
planning and writing fingering in challenging passages is an investment that offers great rewards.
As you work through these exercises, note that substitution requires more motion than direct fingering,
crossing, or finger glissando. Using it too much will tend to busy the fingers unneccessarily, to drag down
the tempo, and to increase the risk of playing or “rubbing” extra keys (“slicing”). However, substitution is
absolutely necessary under certain circumstances. When there is enough time to execute it cleanly, it can be
a valuable technique.

PRACTICE HINTS
Practice rhythmic substitutions at first:
• On one beat, depress the key with one finger.
• On the next beat, make the substitution with the other finger, then immediately pre-locate the newly-
freed finger over the next key to be played.
Later, practice instant substitutions:
• On one beat, depress the key with one finger.
• IMMEDIATELY make the substitution and pre-locate over the new key.
This lesson will introduce you to several forms of substitution, preparing you to use the technique as
efficiently as possible.
Manual 30 OrganTutor Organ 101

DO THESE. Developing these habits will lead to effective use of finger substitution:
• Keep the fingers well curved. This will require fingernails to be cut short.
• Usually substitute the longer finger on top of the shorter one. As in crossing, the longer finger will
usually substitute over the shorter one, or the shorter one under the longer one. However, factors
such as hand size and the “fit” of fingers between sharps may require the opposite. Make your
choice based on what seems most effective and natural in each situation.
• Develop great flexibility in every finger. This will probably take time. Bend the fingers as much as
possible rather than twist the hand excessively to make the substitution.
• Use the listening skills (legato, releases, line).
• Use the length (not width) of the key.
AVOID THESE problems that can easily occur when applying finger substitution. Each can cause a non-
legato connection or other problems:
• playing with straight, stiff fingers
• substituting shorter fingers on top of longer ones, or longer ones under shorter ones (Under some
circumstances, however, this may seem more natural and can have a good result.)
• an inflexible, “lazy” finger motion, requiring the hand to “pull” the finger where it needs to be
• failure to use your listening skills
• crowding the fingers from side to side on the key

EXERCISES 1a-b
Exercises 1a and 1b present an ascending and a descending scale on natural keys only, played with four
different fingerings for each hand. Practice each fingering (always hands alone) until it is perfected. Then
compare the scale played using that fingering with the scale played using the normal scale fingering:
• Right hand: 1 2 3 1 2 3 4 5 5 4 3 2 1 3 2 1
• Left hand: 5 4 3 2 1 3 2 1 1 2 3 1 2 3 4 5
The Main Point: Listen carefully for the same perfect legato when using any fingering.

EXERCISES 2a-b
Exercises 2a and 2b present another ascending and descending scale played with the same four different
fingerings for each hand. These exercises use a combination of naturals and sharps. Practice each fingering
(always hands alone) until it is perfected. Then compare the scale played using that fingering with the scale
played using the normal scale fingering:
 Fingering Techniques: Finger Substitution Manual 31

• Right hand: 1 2 3 1 2 3 4 5 5 4 3 2 1 3 2 1
• Left hand: 5 4 3 2 1 3 2 1 1 2 3 1 2 3 4 5
The Main Point: Listen carefully for the same perfect legato when using either fingering.

EXERCISES 3-9
The object of these exercises is to develop the ability of each set of adjacent fingers to substitute one for
another. They are intended to be practiced hands alone.
Exercises 1 and 2 involve only the sets of substituting fingers. However, in actual practice the substitutions
would not be necessary if the remaining fingers were not occupied on other keys. In exercises 3-9 these
substitutions take place while two or three other fingers on the same hand sustain other notes. In this manner
they also develop finger independence. Each pair of fingers works first on natural keys only in each hand,
then on a combination of naturals and sharps.

Basic Guidelines
In all these substitution exercises, keep the fingers well curved and the back of the hand level from side to
side. Do not allow it to slope downward towards finger 5.
Hold the sustaining fingers on their keys while the other two move up and down by substituting. Practice
rhythmical substitutions, where the substitution occurs exactly on the second half of the quarter note. Later
you can practice instant substitutions. Execute the release of all three notes exactly together at the end of
each measure, precisely on the last eighth-note count.
The Main Point: Listen carefully for perfect legato and clean substitutions (avoid “slicing” extra notes).

When Sharps are Involved

When sharps are involved, it is even more important to curve the fingers. It may even be necessary to curl
the finger extremely to avoid hitting sharps, resulting in a playing surface slightly on the nail. Any problems
in your hand position will make clean substitutions more difficult.
It is nearly impossible to substitute one finger for another on a sharp unless you use the length of the key. In
other words, avoid substituting by pushing one finger off the key with the substituting finger. Instead, move
the new finger on top of or under the old one, placing the fingertip on the key forward or back from the old
finger. This is easy when only fingers 1 and 2 are involved, but will be more challenging when substituting
fingers that are more equal in length.
Manual 32 OrganTutor Organ 101
Fingering Techniques: Finger Substitution Manual 33
Manual 34 OrganTutor Organ 101

EXERCISES 10-11 (Parallel Thirds in One Hand)

When using substitution to execute parallel thirds, the fingers operate in pairs. Both of the fingerings given
in the exercises are effective.
The most common mistake in this type of substitution is attempting to crowd fingers from side to side on the
key. Remember to use the length of the key, substituting forward and back rather than side to side.
 Fingering Techniques: Finger Substitution Manual 35

EXERCISES 12-13 (Parallel Sixths in One Hand)

The fingers also operate in alternating pairs when using substitution to execute parallel sixths. This larger
interval stretches the hand, making only one fingering possible. Furthermore, it is only possible at a fairly
slow tempo. (Quick motion in consecutive parallel sixths cannot be executed legato by a single hand–it must
be played non-legato.)
With this stretch comes the tendency towards a ragged attack–two notes not sounding at precisely the same
instant. Keep enough weight in the hand, and make quick, decisive motions to ensure a “together” attack.
It may be more comfortable, especially for smaller hands, if the paired fingers perform the substitution (not
the attack!) in rapid succession rather than at the same time.

13a and 13b. For exercises 13a and 13b, play exercises 12a and 12b in the key of C minor. Proceed as
explained in 11a and 11b above.

EXERCISES 14a-b
These exercises use ties and substitutions to “roll” up and down the keyboard. Use the fingering as a sort of
time line, executing each substitution in order from left to right. For clean substitutions, play slowly and use
well-curved fingers with plenty of weight in the fingertips. Avoid repeating any keys as each substitution is
executed, and avoid “slicing” neighboring keys (playing two keys with one finger).
Manual 36 OrganTutor Organ 101

FINGER GLISSANDO
See the OrganTutor Online video demonstrations in “Finger Glissando.”

LEADING UP TO FINGER GLISSANDO

The only manual organ technique that must be mastered before study of finger glissando is direct fingering.
Be sure that you can produce a good legato line with direct fingering before working on finger glissando.

FINGER GLISSANDO

Finger glissando is the sliding from a sharp to a natural key by any of the five fingers to achieve a legato
connection. It differs from the thumb glissando in that:
• only the tips of the fingers or thumb are involved, and
• the slide must occur from sharp to natural.
If a thumb executes a slide in this manner, it is still called a finger glissando, not a thumb glissando. A finger
glissando is notated with a straight line between repeated finger numbers.
DO THESE. Developing these habits will lead to effective use of finger glissando:
• Play the sharp at the end of the key.
• Feel plenty of weight in the fingertip.
• Snap the finger quickly onto the natural.
Of the three listening skills, listen particularly for perfect legato.
AVOID THESE problems that can easily occur when applying finger glissando. Each one can cause a non-
legato connection or a ragged attack:
• Playing too far into the sharp key.
• Allowing a break because there is not enough weight in the fingertip.
• A “lazy” motion of the finger and a jerking back of the arm.

EXERCISE 1
Exercises 1a and 1b present several sets of two-note patterns. Each pattern is played first by two different
fingers, which can easily be executed legato by using direct fingering. The pattern is then repeated, this time
using a finger glissando.

The Main Point: Listen carefully for the same perfect legato in both repetitions of the pattern.
 Fingering Techniques: Finger Glissando Manual 37

EXERCISE 2
Finger glissando is only necessary when the other fingers of the hand are busy playing other keys. Exercise
2 calls on two fingers at a time with a finger glissando in one part of the hand, while the other part sustains a
note.
Listen for a clean, “together” attack as you execute the pair of finger glissandos. This can be accomplished
best by applying the items already mentioned:
• Play the sharp at the end of the key.
• Feel plenty of weight in the fingertip.
• Snap the finger quickly onto the natural.
AVOID:
• playing too far into the sharp key.
• allowing a break because there is not enough weight in the fingertip.
• a “lazy” motion of the finger and a jerking back of the arm.
Manual 38 OrganTutor Organ 101

THUMB GLISSANDO
The purpose of thumb glissando is to achieve a perfect legato by using the TIP and the BASE of the
thumb as though they were two different fingers. Practice each of these exercises until you can achieve
the same clear legato as when you play the keys with two different fingers.

Progressing INWARD* with the TIP of the thumb–NATURAL TO NATURAL.

See the OrganTutor Online video demonstrations in “Thumb Glissando—Inward.”

NATURAL TO NATURAL. “T-B” (symbols used for these exercises only) means to play the first key
with the TIP of the thumb, as usual, with the wrist in its normal playing position. Then in one quick motion
drop the wrist slightly, substituting the BASE of the thumb on the same key, and prepare (extend) the tip of
the thumb over the next key to be played. Raise and lower the wrist only enough to free the tip or base of the
thumb. “T” means play the key with the TIP of the thumb, with the wrist in its normal playing position.
After mastering exercise 1a, be sure to listen for a truly legato thumb glissando in exercises 1b and 1c.
Keep the hand forward so the tip of the thumb is near the sharps (use the base, not the second joint
of the thumb). Use a quick, definite motion of the hand for a perfect legato.
 Fingering Techniques: Thumb Glissando–Inward Manual 39

Progressing INWARD with the TIP of the thumb–NATURALS & SHARPS .

See the OrganTutor Online video demonstrations in “Thumb Glissando—Inward.”

NATURALS AND SHARPS. “T-B*” (with an asterisk) means that the “T-B*” (TIP to BASE
substitution) takes place on a sharp key. When this occurs, you may need to make the substitution
with the SECOND JOINT instead of the actual base of the thumb in order to reach the sharp with the tip.
Thumb glissandos are normally notated simply with a straight line between two thumb indications: “1-1”.
Remember, the purpose of the thumb glissando is to achieve a perfect legato by using the TIP and the
BASE of the thumb as though they were two different fingers. Practice each of these exercises until
you can achieve the same clear legato as when you play the keys with two different fingers.
After mastering exercise 2a, be sure to listen for a truly legato thumb glissando in exercises 2b and 2c. Use a
definite snap of the thumb and a quick, short motion of the wrist for a perfect legato.
Manual 40 OrganTutor Organ 101

Progressing OUTWARD* with the BASE of the thumb–NATURAL TO NATURAL.

See the OrganTutor Online video demonstrations in “Thumb Glissando—Outward.”

NATURAL TO NATURAL. With the wrist in its normal playing position, play the first key with the
tip of the thumb bent slightly inward towards the palm, preparing the base of the thumb over the next key
to be played. In one quick motion, lower the base of the thumb and wrist slightly, snapping the tip of the
thumb outward away from the palm and playing the new key with the base of the thumb.
“T” means play the key with the TIP of the thumb, with the wrist in its normal playing position.
“B” means play the key with the BASE of the thumb, with the wrist in its “low” position.
After mastering exercise 3a, be sure to listen for a truly legato thumb glissando in exercises 3b and 3c. Keep
the hand forward so the tip of the thumb is near the sharps (use the base, not the second joint of the thumb).
Use a definite snap of the thumb and a quick, short motion of the wrist for a perfect legato.
 Fingering Techniques: Thumb Glissando–Outward Manual 41

Progressing OUTWARD–NATURAL TO SHARP, or SHARP TO SHARP

See the OrganTutor Online video demonstrations in “Thumb Glissando—Outward.”

NATURAL TO SHARP. Moving outward with thumb glissando between naturals and sharps requires
adaptations of “ideal” technique (as introduced in the preceding exercises) to meet the demands of various
hand sizes and key arrangements. Some of the more common types of adaptation are introduced below.
When progressing outward from naturals to sharps, those with larger hands will find it most effective to
progress with the tip of the thumb (Tip-Base on natural to Tip on sharp).
Remember that the goal of thumb glissando is to achieve a true legato. However, using thumb glissando
under certain circumstances may increase tension or raise the risk of missing notes in other parts. In these
cases it may be preferrable to abandon the thumb glissando entirely, making the closest connection you can
with the tip of the thumb simply hopping very quickly from one key to the next. This is especially advisable
if the thumb glissando would have occurred at an inconspicuous place in an inner part.

*
For those with smaller hands or where larger stretches of the hand are required, progress outward with the
BASE of the thumb (Tip on natural to Base on sharp). Play the natural key with the tip of the thumb toward
the end of the key, as normal, then quickly slide the tip of the thumb in between the sharps, preparing either
the base or second joint of the thumb over the sharp. Play the sharp with the base or the second joint.

SHARP TO SHARP. When progressing outward from sharp key to sharp key it is best to progress
as usual with the base of the thumb. In this manner a perfect legato can be accomplished when moving
between any two neighboring sharp keys–even those separated by two natural keys.

The thumb may also execute a glissando from a sharp to a natural key. This is accomplished most cleanly
with the tip of the thumb alone, without using the base of the thumb. Since the thumb and finger execute
this glissando in the same manner, this is actually finger glissando, not thumb glissando. (It was also
included without explanation in right-hand thumb glissando exercises 2a, 2b, and 2c, measures 3 and 7.)
Manual 42 OrganTutor Organ 101

REDISTRIBUTION OF THE INNER PART

See the OrganTutor Online lesson “Redistribution of the Inner Part.”

One of the most overlooked fingering techniques on hymns or other pieces with three manual parts is
redistribution of the inner part. While the three manual parts can often be played with the right hand taking
the soprano and alto and the left taking the tenor, this arrangement does not always allow for the greatest
ease in playing. It is often easier to play the piece or hymn in a legato fashion (without “jumping” fingers
from key to key) if the alto part is played along with the tenor part by the left hand.
Redistribution is accomplished as follows: Before writing any fingering into the score, the organist should
play the soprano and alto through with the right hand. For any difficult spots, if the alto would be more
easily played by the left hand, the alto part should be marked accordingly. Some organists merely draw
curved lines around the alto notes (see below); some use brackets; others prefer to actually rewrite the alto
note on the bass staff above the tenor note.
Redistribution is a very efficient way to play legato because the organist can avoid complicated substitutions
or other fingerings. In redistribution, the fingerings are more direct–the keys often lie directly underneath the
fingers.
However, redistribution may seem difficult at first to the beginning organist. At the place where the alto is
passed from right to left hand or left to right, the independence and legato of the alto line must be preserved.
The organist must “think line” in this way to prevent breaks or blurred notes from creeping into the alto line.
 Fingering Techniques: Redistribution Manual 43

REDISTRIBUTION OF THE INNER PART: DRILLS

Study the OrganTutor Online lesson “Redistribution of the Inner Part” in the Manual Technique unit. The
examples below are taken from the “Drill and Practice” topic of that lesson. Decide how redistribution could
be used in planning an efficient fingering for each passage, and supply standard redistribution markings. You
do not necessarily need to supply complete fingering. One possible solution for each example is offered in
the lesson.

Drill 1

Drill 2 Drill 3

Drill 4

Drill 5
Lesson 7
 HYMN-BASED ORGAN PRELUDES AND POSTLUDES 
FOR THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS 
 
Easier Hymns From the Hymnbook 
1. Nearer My God to Thee (Hymn #100) 
2. Redeemer of Israel (Hymn #6) 
3. Silent Night (Hymn #204) 
4. How Firm a Foundation (Hymn #85) 
 
Easy Hymn Arrangements 
1. Easy Organ Hymn Settings  
2. Kim Kroft - Nine Hymn Studies  
 
Free Resources 
1. Manual Only Hymn Packet 
2. Easy Hymn Preludes 
3. Laurel Hunt Pedersen's Free Organ Arrangements 
 
Tabernacle Organists’ Arrangements 
1. From the Tabernacle Vol. 1 
2. From the Tabernacle Vol. 2 
3. Reflections from the Tabernacle 
 
Clay Christiansen 
1. All Glory, Laud & Honor (Easter) 
2. An Invitation to Worship: 9 Organ Preludes  
3. All Organ Publications 
 
Postludes for Church Services, James C. Kasen 
1. Volume 1 
2. Volume 2 
3. Volume 3 
4. Volume 4 
5. Volume 5 
6. Volume 6 
7. Volume 7 
8. Easter 
9. Christmas 
 
Hymn Settings for Organ, Neil Harmon  
1. Volume 1  
1. Volume 2 
2. Volume 3 Sacrament Hymns  
3. Volume 4 Postludes 
4. Vol 5 Advanced  
5. Vol 6 Beginner (fingered) 
 6. Vol 7 Primary Songs, Beginner 
 
Hymn Preludes for Organ, Robert P. Manookin (also available at Jackman Music)  
1. Volume 1 
2. Volume 2 
3. Volume 3 
4. Volume 4  
5. Volume 5 
6. Volume 6 
7. Volume 7 
8. Volume 8 
9. Volume 9 
10. Volume 10 
 
Douglas E. Bush 
1. Organ Preludes on Children’s Hymns  
2. Advanced Organ Hymn Settings Volume 1 
3. Advanced Organ Hymn Settings Volume 2  
 
Dale Wood 
1. All collections 
 
Various Composers 
1. Preludes/Postludes from WardOrganist.com (Digital Download Too) 
Lesson 8
 CONTINUING YOUR ORGAN TRAINING 
  

Those with a plan for developing their organ playing skills can offer a very special form of 
service through music throughout their lifetime. Some of the best ways to develop those skills 
are described below. When the time is right, choose the way that works for you, and dig in! 
  
1. The New Ward Organist (free online, 8 videos). A free course designed to help 
pianists in the Church of Jesus Christ of Latter-day Saints adapt their skills to the organ 
as soon as possible. Consists of seven videos, handouts, and a supplementary packet). 
Visit organ.byu.edu/newwardorganist. 
 
2. Private lessons ($). There is no better form of organ training than meeting 
periodically with a trusted personal mentor. Finding an organ teacher who is effective 
in helping you reach your goals and whose fees are within your budget is worth the 
effort. Visit http://organ.byu.edu/finding-an-organ-teacher/. 
 
3. Online lessons ($, high-speed Internet and webcam at the organ). Some BYU Organ 
Workshop instructors, graduate instructors, and other organ teachers are willing to 
conduct online lessons via Skype, Facetime, Collabra, etc. Visit 
http://organ.byu.edu/finding-an-organ-teacher/. 
 
4. BYU Independent Study organ courses (3 forms: free [Level 1-2 only], certificate 
[$150], or college credit [more $]). A variety of organ courses designed to provide 
motivation and instruction for organists to improve their skills by working toward 
specific goals. Each of the six courses or levels covers hymn playing, organ technique, 
organ pieces, music theory, transposition, sight-reading, and choir accompaniment as 
appropriate to the level. Traditional instruction is offered through books and computer 
lessons, while performance instruction is coordinated with qualified organ instructors in 
the vicinity of the student. Visit organ.byu.edu/orcert.html. 
 
5. The BYU Organ Workshop ($, early August in Provo and possibly online). An 
intensive four-day workshop for organists of all levels. Primarily for those ages 18+. Visit 
organ.byu.edu/orcert.html and organworkshop.byu.edu. 
 
6. BYU Traveling Organ Workshops (free, throughout the year). Usually multi-stake 
events (other formats possible), directed by the BYU organ faculty in coordination with 
 a local host stake and a local coordinator. Funded by Marjorie Volkel endowment. 
Contact [email protected]. 
 
7. BYU Organ Workshops Facebook page (free). Offers continued online 
collaboration between workshop instructors and group members. Questions and 
answers, and miscellaneous posts about workshop-related topics. 
https://www.facebook.com/groups/byuorganworkshops. Other interesting groups can 
be found in the “Internet Resources for Organists” handout. 
  
8. OrganTutor Online ($, OrganTutor is also used in the BYU Independent Study organ 
courses, and can be used in private and group lessons). 62 online lessons for the 
pianist on the basics of classical or traditional sacred organ playing. The OrganTutor 
Online Tutorial and Workbook contain technical and musical studies for classical or 
church organists of any denomination. They are designed to be used together, but are 
available separately. Subscriptions to use the online tutorial on tablets, smartphones, 
laptops, or desktops are available for 6 months ($30) or 3 years ($50). The workbook is 
available in hard copy or pdf. Visit organtutor.byu.edu or 
organ.byu.edu/usingorgantutor.pdf. 
  
9. BYU Musicians’ Summerfestival ($, mid-June in Provo). A seven-day event where 
young musicians ages 14-18 can receive daily organ lessons, attend concerts, learn 
music theory, enjoy social events, and more. Visit organ.byu.edu/orcert.html and 
summerfestival.byu.edu. 
 
10. Ward- or Stake-sponsored organist training (free). Many stakes and wards 
conduct some form of organ training. Contact your ward or stake music chairpersons 
or priesthood leaders. Multi-stake organ workshops can be arranged by contacting 
[email protected] at the BYU School of Music (see BYU Traveling Organ Workshops 
above). 
 
11. Membership and activity with the American Guild of Organists ($ annual 
membership.) Local chapters of the American Guild of Organists meet monthly to 
share interests and skills, and there is a monthly magazine. The regional and national 
organization also conducts annual conventions. Visit 
agohq.org/membership/membership-overview/. 
 
 INTERNET RESOURCES FOR ORGANISTS 
 
General “Hot Spots” of Organ-Related Web Resources 
● Pipe Organs and Related Topics  
○ Links of topical interest 
● American Guild of Organists 
● The New Organist (videos and other resources) 
● Educational Resources  
● Lessons for the New Organist and other educational videos   
● Wikipedia   
 
Brigham Young University 
● Organ Study at BYU 
● BYU Organ Workshop   
● BYU Musicians’ Summerfestival (ages 14-18)   
● The New LDS Organist   
● OrganTutor   
● Independent Study Organ Courses 
○ College-credit courses (Levels 1-6) 
○ Certificate-only courses (Levels 1-6, noncredit) 
○ Free courses (Levels 1-2 only, noncredit, no certificate)  
■ Level 1 
■ Level 2 
 
Organists of the Church of Jesus Christ of Latter-day Saints 
● Organ Training Resources 
● Facebook groups 
○ BYU Organ Workshops   
○ Organ Pedagogy 
○ Latter-day Saint Organists’ Chat 
● Resources for LDS Organists (DeeAnn Stone)   
● Belnap Hymn Studies for Organists 
● Carol Dean marked Hymnbook (about $30+shipping, email Jennifer Morgan 
[email protected]) 
● History of LDS Hymns    
● Temple Square Organs   
● Jackman Music   
 ● Online Music for the LDS Organist   
● A Blog for LDS Organists   
 
Organ Music 
● Sheet Music Plus
● Michael’s Music Service 
● Lois Fyfe Music 
● Organ Historical Society
● Kelvin Smith Online Music Library   
 
Recordings and Broadcasts 
● Pipedreams Program Archives   
● JAV Recordings   
● Pro Organo (Zarex)    
● Bach Organ Works (free online recordings – Kibbie)   
● OrganLive.com (free Internet audio station)  
● Youtube - Netherlands Bach Society - All of Bach 
● Tabernacle Organ Concerts- Piping Up! Series 
 
The Organ Itself 
● Encyclopedia of Pipe Organ Stops  
● Organ History   
● A Young Person’s Guide to the Pipe Organ (The Pipe Organ Guide)   
 
Miscellaneous 
● Facebook: American Guild of Organists (closed group)   
● Facebook Organists’ Association (public group)  
● AGO Young Organists   
● BACHorgan.com   
● Pipe Organs: Remarkable and Historical Instruments from Around the World    
● Secrets of Organ Playing: Down to earth tips, advice, and training for organists (Vidas 
Pinkevicius)    
 
Organ Shoes 
1. Organ Master 
2. Tic Tac Toes