Organ

Front 1

Describe each of the five characteristics of a good organ shoe

Back 1

Heel-- 1" high, wide
Sole--thin, soft/flexible, trimmed flush
Instep--no bridge
Upper--flexible, don't stick (no patent leather)
Fit--fit securely to foot

Front 2

Compare/contrast the manner in which tone is produced in the piano and in the organ

Back 2

piano: vibration/volume diminishes over time
organ: sound is constant

Front 3

Identify the main consequence of that contrast in organ playing

Back 3

the timing of the release of the key is as important as the timing of the attack

Front 4

Describe how one compensate for the absence of the sustaining pedal in organ playing

Back 4

fingering techniques

Front 5

Name two reasons for increasing awareness of the release of the note

Back 5

articulation/accents may occur on 2nd tone

Front 6

Name & describe each of the 3 listening skills

Back 6

1. Perfect releases--release when other tone starts
2. Perfect legato--perceive no breaks between notes
3. Independence of line

Front 7

Identify at least one common error in legato and another in independence of line

Back 7

Legato: small (almost undetectable) = non-legato, over legato
I.of L: one line imitates releases in another line

Front 8

Identify the purpose of the "freezing" technique & describe how it is executed

Back 8

--let's the brain remember not to break legato in hand when breaking in foot (foot is repeating notes)
--freeze after the 1st note, hold your LH & release foot, hold for longer than usual & then continue

Front 9

What is the control center of the organ?

Back 9

the Organ Console

Front 10

Identify the location of the various manual keyboards on a two-, three-, and four-manual organ

Back 10

2: swell on top, great below
3: swell, great, choir or Positiv
4: Solo, swell, great, choir/positiv

Front 11

Name & describe three different types of pipework divisions (not swell, great, pedal)

Back 11

Enclosed--pipes contained in an expression box (expressive)
Encased--pipes contained in case (wooden), open only in front (non-expressive)
exposed--pipes neither enclosed nor encased, exposed in the room (non-expressive)

Front 12

Describe characteristics of the Swell division, Great division, and the Pedal division

Back 12

Swell: enclosed, expression pedal above Tenor E&F, secondary chorus dominated by flute & reed chorus
Great: non-expressive, either encased or exposed, main principle chorus="backbone" of organ
Pedal: *normal position for an expression pedal is fully open

Front 13

Identify the normal location of the Swell expression pedal relative to the pedal keys

Back 13

directly above tenor E&F

Front 14

Identify the normal position (open or closed) of an expression pedal

Back 14

OPEN

Front 15

Describe some of the possible functions of teh expression pedal on an electronic organ

Back 15

independent expression pedals--one for swell, one for great/pedal

Front 16

Identify the normal position (open or closed) of the crescendo pedal and its function

Back 16

closed
it adds stops "blindly"

Front 17

Identify the normal location of the crescendo pedal relative to the expression pedals

Back 17

to the right

Front 18

Identify middle C and tenor C on the pedal and manual keyboards

Back 18

middle C on pedal is the highest C
Tenor C is center-most C pedal

Front 19

Identify three different types of stop controls

Back 19

stop knobs
stop tabs (pulled=engaged, retired=disengaged)
rocker tabs (lights up when engaged)

Front 20

how do you position yourself along the left-right axes

Back 20

make sure that your feet can reach both ends of the pedal board
**PIVOT

Front 21

Describe how to position yourself along the up-down axes

Back 21

adjust the height of the bench
too high=have to reach, stretch, brace, back problems
too low=lift feet, loose balance

Front 22

Describe how to position yourself along the forward-back exes

Back 22

bench should be forward enough to support you so you can reach the expression pedal, but back enough that the foot can move freely
**Adjust the bench & not your body

Front 23

Describe pivoting and at least 3 ways that it can be accomplished

Back 23

don't slide up and down the bench--body should be aligned with D on the pedal board

Push off with: Left foot, Right foot, Hands

Front 24

Describe the position of the upper body at the organ in a relaxed state with good balance and posture

Back 24

-back of head, neck, & spine in natural alignment
-allow forward curvation of lower back
-relaxed in shoulders, lightness of arms, elbow comfortably & flexibly close to body

Front 25

Identify ways of dealing with 3 physical problems brought on by organ playing:
Fatigue
pain in shoulders
pain in the hands and wrists

Back 25

Fatigue: take a 5-10 minute break
Shoulders roll forward & back (back up against a wall, position head, shoulders, and hips in contact with the wall--hold for a minute
Hand/Wrist: keep elbows comfortably close to body stop & work on other muscles, see a doctor

Front 26

Identify at least five qualities of perfect practice

Back 26

regular (daily) practice, intent listening, musical playing, playing slowly, repetition, no stops/pauses

Front 27

Identify at least 5 qualities of poor practice

Back 27

bored, teacher notes what you don't notice, mind wanders, not played well in front of others, same mistakes appear

Front 28

describe what tempo one shoudl practice

Back 28

slow enough to stay in control

Front 29

Describe the 3 phases of learning a piece (two have to do with planning)

Back 29

1. Catch the vision -- get motivated
2. Plan your work -- Practice time, break it down
3. Work your plan -- keep a record

Front 30

How much fingering and pedaling should be included?

Back 30

enough that you can play a passage the same way each time

Front 31

Identify 2 ways in which a piece can be broken down into its component parts

Back 31

horizontal, vertical

Front 32

Describe and Identify the benefits of perfect-measure practice and starting from the end

Back 32

play measure + 1 note in next measure back to front -- only play what you really know

Front 33

three-step method

Back 33

one hand, other hand, both combined

Front 34

seven-step method

Back 34

right, left, pedal, left&pedal, right&pedal, right&left, all combined

Front 35

independent voice-part method

Back 35

soprano, alto, tenor, base, seperate, 2-part, 3-part, all 4 parts

Front 36

Briefly describe each of the 4 kinds of practice

Back 36

warm up
building
interpreting
performing

Front 37

Describe how mental practice is accomplished

Back 37

play slowly, visualize, repeat 5x (in mind)
ISPPP + 6SMP = ISPP

Front 38

Name 3 types of mistakes

Back 38

error
pause
insecurity

Front 39

describe the "Four F's"

Back 39

Find It (identity)
Fence It In (Isolate)
Fix it (repitition)
Fit it (context)

Front 40

Name at least three types of activities that you should be emphasized in practice when preparing for performance

Back 40

learn to the point of memorization
mistake-free practice
four f's immediately
play in front of people

Front 41

name at least 3 types of activities that should be avoided in practice when preparing for performance

Back 41

changing performance mechanisms
mistakes
confidence lower

Front 42

Identify at least 2 ways to avoid organ-related health problems

Back 42

exercise
short practice sessions
take breaks

Front 43

Identify the two main components of a pipe organ

Back 43

1. console
2. pipework

Front 44

Identify the two main configurations in which organs appear

Back 44

1. detached console
2. integrated console and case

Front 45

compare and contrast the pipe organ and the electronic organ

Back 45

Pipe: sound from air flowing through pipes
Electronic: tone from pipes but connection b/w key and pipe valve is electronic

Front 46

Describe the components and function of the wind system

Back 46

blower -- supplies/pushes air through wind lines, reservoirs, & chests
Wind lines
reservoirs
chests -- hold air @ certain pressure for use on demand

Front 47

describe the function of the stop action & Identify two types

Back 47

to select which rank you want
mechanical & electrical

Front 48

describe the function of the combination action and the multi-level memory

Back 48

combination: you're able to "save" certain stop combinations on thumb pistons
memory allows one piston to have >1 combination

Front 49

compare/contrast 3 different types o key action

Back 49

mechanical: control b/w organ & organist (now organs are huge and its hard w/o electric help)
Pneumatic: air driven
Electric

Front 50

Describe in general the meaning of the Arabic numerals on a stop knob/tab

Back 50

the octave that the pitch is played in (pitch designation)

Front 51

Which two parts of the pipe define the speaking length?

Back 51

Mouth and Top
distance from the mouth to the top

Front 52

Which pipe of a rank determines the pitch designation?

Back 52

the longest (lowest) pipe

Front 53

Name each of the most common octave-sounding pitches

Back 53

Manual:
8'
4'
2'
1'
Pedal:
16'
8'
4'
32'

Front 54

For each pitch that corresponds to a partial from the harmonic series, identify the interval b/w a note (on a staff) being played and the pitch that is heard

Back 54

2&2/3' = one octave + a 5th
2' = two octaves
1&3/5' = two octaves + a 3rd
1&1/3' = 2 octaves + a 5th
1' = three octaves

Front 55

Describe two general ways in which the harmonic series functions in teh organ registration

Back 55

1. tone color: all pipe with a rank are the a same shape, different ranks have diff shapes/materials --> diff tone color
2. building combinations = using multiple stops builds your own harmonic series

Front 56

name each of the three most common mutations

Back 56

2&2/3'
1&3/5'
1&1/3'

Front 57

describe the meaning of roman numerals on a stop knob and tab

Back 57

indicates the # of tanks that are engaged

Front 58

describe and give examples of 2 diff kinds of compound stops

Back 58

mixtures: type of stop (ie mutations, unison-, octave-sounding)
celestes:

Front 59

describe the nature and function of chorus mixtures

Back 59

"cap off" a principal, flute, reed chorus
--breakback when too high
**adds brilliance

Front 60

describe the nature and functions of solo mixtures

Back 60

supply mutations to color a solo voice

Front 61

Identify the five pitches that make up the cornet

Back 61

8'
4'
2&2/3'
2'
1&3/5'

Front 62

Identify the two stop names commonly associated with solo mixtures

Back 62

Cornet II
Sesquialtera II

Front 63

Identify some of the effects of breaking between repeated notes when playing a hymn

Back 63

--defines 2nd note (choppy, emphasis to the pulse)
--accents on 2nd note

Front 64

Identify some of the effects of tying repeated notes when playing a hymn

Back 64

--does not define, de-emphasizes the pulse
--eliminates accents

Front 65

When considering the treatment of repeated notes...
common tones between soprano & alto

Back 65

--if soprano ascends & alto becomes what soprano was--TIE soprano to alto
--if soprano descends into what alto had been--BREAK alto line so attack of soprano can be heard

Front 66

When considering the treatment of repeated notes...
common tones between also & tenor or tenor & bass

Back 66

just decide based on textual & musical considerations

Front 67

When considering the treatment of repeated notes...
all four parts are repeated

Back 67

--tie 1&2 of the 3 lower parts
--tie inner parts/alternate tied & repeated parts

Front 68

When considering the treatment of repeated notes...
Three parts are repeated

Back 68

tie 1 or 2 of the 3 lower parts

Front 69

When considering the treatment of repeated notes...
two parts are repeated

Back 69

tie one or none of the 3 lower parts

Front 70

When considering the treatment of repeated notes...
Only one part is repeated

Back 70

no tie is needed

Front 71

When considering the treatment of repeated notes...
textual phrase breaks

Back 71

punctuation can be emphasized by breaking repeated notes (even breaking all four parts)

Front 72

When considering the treatment of repeated notes...
drumbeat effect

Back 72

look at other measure--add variation where you can so you don't create a drumbeat effect

Front 73

When considering the treatment of repeated notes...
piano playing at the organ

Back 73

you'll want to play everything with tiny seperation
--take the challenge to apply tieing principles and listening skills

Front 74

When considering the treatment of repeated notes...
choppy playing

Back 74

avoid large spaces between repeated notes (triplet-eight rest)

Front 75

describe the OrganTutor position for the treatment of repeated notes in sustained-style hymns

Back 75

most satisfying & musical hymn playing comes when standards are applied to repeated notes: repeated middle notes may be tied, if notes are repeated only have small breaks

Front 76

Describe how message of the text effects tempo

Back 76

**most powerful factors**
mood of text pulls tempo one direction or the other
(reverent, gentle, dignified = slower)
(jubilant, spirited, bright = factor)

Front 77

how does phrase length effect tempo

Back 77

longer phrases = quicker tempo
shorter phrases = slower pace

Front 78

how does hymn length effect tempo

Back 78

more verses = faster (so congregation doesn't get tired of singing)
less verses = slower

Front 79

how does the smallest prevalent note value effect tempo

Back 79

the smaller the smallest note is, the slower pace it should be
longer notes as smallest should be played faster

Front 80

how does harmonic rhythm effect tempo

Back 80

rate of chord change
fast change=slow tempo
slow change=fast tempo

Front 81

how does nature of the occasion effect tempo

Back 81

jubilant occasions-->faster songs
solemn occasions-->slower songs

Front 82

how do acoustics effect tempo

Back 82

"live" = slower
"dry" = faster

Front 83

how does congregation effect tempo

Back 83

large/old congregations --> slower songs

Front 84

describe ways of determining the tempo before playing a hymn during a service

Back 84

--think like a singer
--mark the passage and decide that certain tempo
--practice with & watch the director

Front 85

rank

Back 85

set of pipes

Front 86

stop nomenclature (name)

Back 86

gives tone quality/timbre of rank

Front 87

number of pipes in a manual rank

Back 87

61

Front 88

number of pipes in a pedal rank

Back 88

32

Front 89

orchestra compared to a rank of pipes

Back 89

a rank can play several pitches at the same time
much like an orchestra

Front 90

Identify two categories of organ pipe

Back 90

FLUE: labial, include principal/flute/string families
REED: Lingual, woodwind & brass sounds

Front 91

name the 4 families of organ tone & identify the category of organ pipe to which it applies

Back 91

Reed: Reed
Flute: flue
String: flue
Principal: flue

Front 92

pipe scale

Back 92

ratio of pipe diameter to its speaking length

Front 93

describe the tonal characteristics of wide-, medium-, and narrow-scaled pipes

Back 93

WIDE- (flutes) emphasizes lower harmonics; hollow, fluty tone quality
MEDIUM- (principals) balanced array of high/low harmonics; rich, foundational tone
NARROW- (strings) strong higher/ weak lower harmonics, incisive, "stringy" tone quality

Front 94

Tell how a two-rank string celeste is created, describe its tone, and tell when it may/should not be used

Back 94

sharp-tuned rank itself
creates warmer/chorus-like effect (like adding several similar strings on a solo line)
use in soft passages/accompaniment
do NOT use in congregational singing & avoid over using celestes

Front 95

what is a stopped pipe and what two tonal changes happen to a pipe when it is stopped?

Back 95

its covered on top
turns pipe into a flute& speaks one octave lower

Front 96

describe hybrid stops & identify their most important characteristics and functions

Back 96

combine characteristics from more than one single family
can be used alone or with one/more stops

Erzahler, Gemshorn, Spitzflote

Front 97

Compare/contrast characteristics & functions of solo&chorus reeds

Back 97

chorus reeds blend very well & can be used as solo reeds where solo reeds don't blend and can't be used as chorus reeds
both have wide volume ranges

Front 98

describe how completely you should mark your score, given your current level of proficiency as an organist

Back 98

mark a lot but not so much that it's distracting
abbreviate & only mark what is necessary

Front 99

identify at least three ways to deal with page-turning problems

Back 99

turn it yourself
page turner
prepare score (so either no turning or wait until hand is free)

Front 100

how do you mark nature of text

Back 100

underline, keywords

Front 101

how do you mark textual phrasing

Back 101

// or V for break in all verses, use #s instead of commas

Front 102

how do you mark musical phrasing

Back 102

rainbow thing

Front 103

how do you mark fingering and pedaling

Back 103

numbers
^ v o

Front 104

name two important benefits from supplying good written fingering and pedaling

Back 104

security
retention

Front 105

describe guidelines for how much written fingering and pedaling one should use

Back 105

depends on...
level of difficulty (harder=more)
musical patterns (lie well under hands=fewer)
Natural ability

Front 106

explain the difference between a non-speaking stop and a speaking stop

Back 106

NON: manipulates speaking stops but have no voice of their own
SPEAKing: activates one/more ranks of pipes

Front 107

Name the 3 main types of non-speaking stops

Back 107

1. coupler
2. tremulant
3. unison off

Front 108

identify two components of a tremulant

Back 108

Frequency--speed of the "cycles" of air
Depth--amount of pitch/volume change that occurs from the point of highest to lowest wind pressure in the tremulant cycle

Front 109

identify appropriate and inappropriate uses of tremulant in classical organ playing

Back 109

APP: on a single solo line, on very soft stop combinations
INAPP: congregational hymn playing, loud combinations, too frequent use, with celestes

Front 110

function of INTERmanual coupler

Back 110

allow stop combination from one division to be played also on another--link BETWEEN divisions
i.e. swell to great

Front 111

INTRAmanual

Back 111

allow stop combination from a division to also sound one octave higher/lower on the same division
**extensions**

Front 112

MIDI couplers

Back 112

Musical Instrument Digital Interface

Front 113

describe the function of supercouplers and subcouplers

Back 113

SUPER: play pipe and pipe an octave higher
SUB: play pipe and pipe an octave lower

Front 114

describe the function of the Unison Off + two common applications

Back 114

*non-speaking
1. using a stop/combination an octave higher or lower than the intended pitches
2. rearranging the manual/pedal divisions

Front 115

Name the 3 primary types of organ registration

Back 115

1. chorus
2. solo & accompaniment
3. trio/duo registration

Front 116

name two musical characteristics upon which you can focus when evaluating the musical texture for purposes of registration

Back 116

1. NUMBER of manual parts
2. Relative Prominence & nature of those parts

Front 117

a 2 clav. ePed

Back 117

pedal & manuals (solo*accomp.)

Front 118

Manualiter

Back 118

manuals only

Front 119

name 4 types of musical form that allow for registrations change

Back 119

1. Multi-movement forms
2. Verse Refrain Form
3. Two part Forms
4. Echo forms

Front 120

Name two important elements of musical texture that call for chorus registration

Back 120

1. there are TWO manual parts or more
2. No part is prominent or more melodic in nature

Front 121

Describe 3 important standards in chorus registration

Back 121

1. all manual parts to be included are played on a single manual
2. usually build on 8' for manuals, 16' for pedals -->more gravity use octave lower
3. avoid gaps b/w octaves 8', 4', 2', -->don't skip 4' or it'll create a hollow/incomplete sound)

Front 122

Compare building for clarity with building for richness in chorus registration

Back 122

clarity: you can hear each part (trio)
build up with one stop per pitch level
Richness: full, warm ensemble

Front 123

example of bright combination

Back 123

Principals 8' 4' 2'

Front 124

example of moderate combination

Back 124

Principals 8' 4'

Front 125

example of gentle combination

Back 125

Flute 8'

Front 126

Describe the use of pure choruses compared with mixed choruses

Back 126

use all the same registration for pure-->more cohesive
if you want more volume than cohesion use diff registrations for diff pitches-->replace 8' flute with 8' principal

Front 127

identify two ways in which balance should be applied in chorus registration

Back 127

w/in a division: should sound like one composite sound
b/w manuals & pedal: overall character of manual combo shoudl be balanced in the pedal w/ a combo of similar character (one octave lower or same)

Front 128

describe two diff ways of balancing the pedal combination with the manual combination

Back 128

one octave lower: begin with stop one octave lower + same fam as lowest manual stop, work lowest to highest choosing from same fam one octave lower
Same octave: same as above but the same octave (same family)

Front 129

how do you use 2&2/3' in chorus registration

Back 129

adds gravity & thickness (lose clarity)--avoid using as highest pitch

Front 130

how do you use 1&3/5' in chorus registration

Back 130

gives reedy, rich quality (lose clarity)--should not be used if clarity is high priority

Front 131

how do you use 1&1/3' in chorus registration

Back 131

adds brightness, can be used as sub for an intermediate step

Front 132

describe the typical "full organ"

Back 132

principal chorus, flute chorus, hybrid chorus, 5th sounding mutations, 1/3 sounding mutations, chorus mixtures, reed chorus, unison couplers

Front 133

describe the solo & accomp registration compared to the chorus registration

Back 133

generally solo&accomp has one solo stop (louder, brighter, colorful) and the rest are chorus-type stops -- they support (softer, less bright...)

Front 134

name two important elements of musical texture that call for solo and accomp. registrations

Back 134

1. there are 2 manual parts or more
2. one part IS prominent or more melodic in nature

Front 135

describe 3 important standards in solo&accomp registration

Back 135

1. distribution of hands/feet: solo played on one manual/pedal, all other parts on manual
2. Pitches: both solo&accomp are built on an 8' foundation (solo can also have 4', 16'...)
3. Pedal: if solo--built on either 16', 8', or 4' foundation; if accomp--balanced to manual accomp & built on 16' foundation

Front 136

procedure for building solo&accomp registration

Back 136

1st choose solo, then build appropriate accomp
decide which range volume

Front 137

describe the general nature of the solo part

Back 137

range: determine where solo is written/played & decide if you want 8' 4' 16'
volume: ff = jubilant hymns
f = meditative hymns
mf = not for congregations

Front 138

describe the general nature of the accomp

Back 138

**use principals of chorus registrations
build on 8'
volume--soft but loud enough to support

Front 139

describe various ways of achieving contrast between solo and accomp

Back 139

volume: (flue stops) don't undersupport or overbalance the solo
Timbre: hybrid, string, etc--all have "edge" against flutes

flue solo--highest pitch
reed solo--used for slower solos & contrast timbres