FLOR PEETER.

'

LITTLE ORGAN BOOK

For

Beginners in Organ Playing

Includa Graded Exercisa 0n Well-Knrutn Hymn Tunes

Summy-Birchard Inc.
Exclusively distnbuted by
Alfred Publishing co., Inc.
 @ 1957 Surruny-Birchard Music
Division of Summy-Birchard Inc.
Exclusive print rights administered by Alfred Publishing Co., Inc
All rights reserved. Printed in USA.

ISBN 087487-600-l
 INDEX OF CONTENTS
Flor Peeters' Proctice Orgon IV
I Foreword
The lnstrumeni V
Wind Mechonism
Action
Pipework
Elementory Rules for Orgon Ploying x
Position ot the Orgon
How to Proctice
Registrotion. . xt
For Choir Accomponiment
For Orgon Literoture
Index of Hymn Tunes ond Originol Compositions xil
l! Elementory Exercises, Attock, Legoto,. . I
Crossing, Substitution, Glissondo,
Rules for Performonce
lll Two-port Monuol Ploying 8
lV Elementory Fedol Exercises (toes), l8
Attock, lntervols, Studies
V Three-port Ptoying 25
Preporotory Two-port Exercise for one Hond
Three-port Monuol Ploying 28
Vl Pedol Exercises for Toe ond Heel . . . . 43
Vll Two-port Monuo! ond pedol ploying. . . . 50
56
lX Four-port Monuol ploying 82
X Four-port Monuol ond pedol ploying. .. . 88

lil
 Flor Peeters' Smollest Proctice Orgon

Pipe Specif icotions for Proctice Orgon:

Rohrfl6te 8'
Prestont 4'
Rohrfldte 4'
Octove 2'
Cimbel 3r
Extro ronk for Pedol:
Resultontbos I6'

lnstrument hos five ronks of pipes ovoiloble on eoch

monuol ond in the pedol, with on extro ronk in the pedol

IV
 I. FOREWORD
THE INSTRUMENT

The orgon is o mony-voiced wind instrument. The Wind mechonism

wind pressure is supplied by o blower ond bellows. The
musicol sound is produced directly by the orgonist who Whot the lungs ore for o singer, the bellows ore for
monipulotes the keys ond the stops ot the console. the. orgon, supplying os they do the compressed wind
ond holding it in reqdiness for use. The windtrunk or
The console of o complete orgon hos two monuols chonnel conducts the wind from the heovy-pressure
ond o pedol keyboord. Orgon consoles for lorge orgons bellows to the windchest ond soundboord.' 'An im-
often hove three or four monuols ond o pedol [.eybocrd. portont element is the reguloting bellows which serves
Orgons ore usuolly designed for specific purposes ond to keep the wind ot o steody pressure.
locotions. lf on orgon for exomple, is to be used pri-
morily for choir occomponiments in o porticulor church Action
of given dimensions, it will be designed tonolly for thot
purpose ond given o physicol shope for thot ploce. lf , The oction includes the soundboord, the slides, pol-
on the other hond, it is to be used os o solo ond ensem- lets ond stop mechonism. There ore three types of-oc-
ble instrument in o concert holl, the tonol ond physicol tion; mechonicol, opero-
design will be different. ted by meons of o lever;
pneumetic, by windpres-
The principol ports of the orgon ore: sure; ond electric, by
meons of electric mog-
l) The wind mechonism (heovy pressure bellows, nets. The soundboord or
trunking, reguloting bellows, etc.) chest is the heort of the
2) The oction, (windchest, soundboord, pollets, orgon where the mecho-
monuols, etc.) nism of the oction ond
thot of the stops cooper-
3) The pipework (sound-producing port of the or- ote in producing sound
gon) from the pipes.

V
 The keyboords ond pedols consist of o certoin num- Pipework
ber of keys the monipulotion of which controls the oc-
tion. Eoch stop hos its own distinctive tone-color ond The pipes os the sources of musicol sound, consti-
pitch, while eoch keyboord hos its own tone chorocter tute the most importont component of the orgon. Pipes
owing to the distinctive fomily of stops it governs. The difter in form, ciimension ond moteriol The form moy
keyboords or monuols ore ploced in terroce formotion. be cylindrjcol, conicol or pyromidol. Moteriol moy be
They con be coupled together ond to the pedols. Thus wood or metol of vorious kinds. Pipes ore colled
we hove monuol ond pedol couplers os well os octove flues (lobiols) or reeds (linguols) occording to their
ond sub-octove couplers which roise or lower the pitch distinctive tone quolity or timbre. The pitch in flue-
by on octove. pipes is determined by the length, width ond form of
The usuol keyboord orrongements ore the following: the pipe; in the reeds by the tongue ond the boot.
A register (stop) is o series of orgon pipes from the
I) Orgon with two monuols: lorgest to the smollest, homogeneous in timbre ond in-
Swell or Choir - Upper keyboord tensity, eoch pipe corresponding to o key on the monuol.
A drowstop or stop-key on the console brings the series
Greot - Lower keyboord
into ploy. These registers or pipe series ore divided into
2) Orgon with three monuols: seven fomilies, occording to timbre. These fomilies ore:
Dioposon, Flute, Bourdon, String, Mutotion, Mixture,
Swell - Topmost keyboord ond Reed. A pipe corresponds to eoch key, except in
Greot - Middle keyboord the cose of the mixture where there is more thon one
Choir - Lowest keyboord pipe to eoch key.
The relotive pitch of registers is expressed in terms
3) Orgon with four monuols: of feet. The pitch of the eight-foot register (8') is thot
Solo - Topmost keyboord of the piono. Generolly speoking, the pipe of the low-
Swell - Upper middle keyboord est C of on eight-foot register is eight feet long. A reg-
Greot - Lower middle keyboord ister holf thot length (4') will sound on octove higher,
Choir - Lowest keyboord ond o register double thot length (16') will sound on

VI
octove lower, ond so on, occording to the ordinory lows Combinotions.
of ocoustics.
There ore two kinds of combinotions: the "fixed"
A mutotion stop is o register which does not produce combinotion ond the "free" combinotion.
the normol note of the key ployed, but o noturol hor-
monicof thot note. The nozordZ A3 (quint) produces The "fixed" combinotion is ploced beneoth the
the third noturol hormonic or l2th. monuols in the form of o thumb-piston ond when
pressed brings on groups of stops. The thumb-pistons
The mixtures odd combinotions of super hormonics, beor the lobels: PP (pionissimo), P (piono), F (forte),
vorying in number occording to the number of ronks FF (fortissimo) ond T (tutti). These "fixed" combino-
engoged, the number being frequently indicoted on the tion pistons ore folling into disuse in most modern orgon
stop. Mixture 4r '- four hormonics. Above o certoin building. They ore colled "fixed" becouse the orgonist
point on the keyboord, speciol modificotions hove to moy not chonge ot will the stops governed by eoch of the
be employed by the builder os the hormonics would pistons.
be of too high o pitch to be procticoble or oudible. These The "free" combinotions on the other hond, ore of
modificotions ore termed "breoks" or "returns". greoter benefit ond importonce. Like the fixed com-
Combination ol a 4 to 5r rrixture with binotion, these ore usuolly found os thumb-pistons be-
indieation ol the breaks: neoth the monuols, but unlike the fixed combinotion
c tl/t
go2l%1
7 2/s t/z
2/s piston, the stops which eoch "free" piston brings on
cr 22/:y 2 ll/..t I
%
2/s con be prepored ot will by the orgonist. ln this woy he
91 4 Z2/s z IYB 1 con prepore os mony combinotions of stops os there ore
s2 4 4 22/s 2 11;/s pistons on the orgon. ln the cose of o lorge instrument,
Combinotion ol a 3r Cimbel with indicatiorr these odjustoble or "free" combinotions con be of in-
ol the breaks:
estimoble volue in plocing ot the disposol of the orgonist
C r/a r/,j
YB
the mony tonol colors contoined in the instrument. The
co l/J 1,h

fo Yz
YE,
ra \/a "{tee" combinotion pistons ore orronged in numericol
c1 2h 1/z 1A
sequence for pedol ond eoch of the monuols .

fl
c2
1 '/:l r/,t
There ore often combinotion pistons known o s
{r2
7YB 1
L% 1 "generol" pistons which control the entire tonol re-
c3 2% 7tb sources of the orgon.

vlr
 The Swell Pedql. A section of the instrument is en- BOURDONS: REEDS:
closed behind o series of shutters which ore copoble (Gedeckt) Gedeckt Trumpet 16', 8', 4'
of being groduolly opened ond closed by meons of o foot 32" 16" 8" 4', Bomborde 32', 16'
level "swell pedol" By the use of this pedol, o con- Bourdon 16', 8' Posoune 32', 16'
trolled crescendo or diminuendo is mode possible ond Sub-boss 32',16' Clorion 4'
g reoter expressiveness otto i ned. Nochthorn l6', 8', 4', 2' Zink 2'
The Generol Crescendo pedol. (Roll-Schweller), grod- Quintenboss I6', 8' Tubo 16',8'
Hohlfl6te or Hohlpfeife Dulcion B'
uollybrings into ploy oll the stops of the orgon from the 8' , (4') Dulcion Regol l6'
56ftest up to the full power of the instrument. Fogotte 16'
Finolly, here follows o list of the nomes of the stops MUTATIONS: Bossoon l6'
in generol use, clossified in fomilies: Quint lO 2/3,5 1t3, Oboe 8' (4')
2 2/3, 1 1/3 Horn 8'
IAPASONS STR INGS: Cholumeeu 8' , 4'
D :
Grossnosot 5 I /3
Prestont 16',8' or 4' Gombo B' Nozord Z 2/3 Cromorne 8'
Dioposon 16',8' or 4' Violinboss l6' Grossterz 6 2/3 Bcirpfeife 8', 4'
Principol 16', 8' or 4' Dolce 8' Tierce3li5, l3/5 Ronket l6'
Montre 8' Solicionol B' Septidme (seventh) Sordun 32', l6'
Contrebosse I6' Fugoro 8', 4' 4 4/1 ,2 2/1, I l/1 Clorionet 8'
Octove 8',4' or 2' Spitzgombo 8' Cor onglois 8'
Doublette 2' Eoline 8' M IXTURES: Vox humono 8'
Gemshorn 8', 4' Mixture 3, 4,5,6,7 to Regol 8', 4'
FLUTES: Violo 8' B ronks ond more
Block f lute 8',4' or 2' Violo di gombo 8' Plein Jeu 3, 4 or 5 R
Clorobello 8' Cello 8' Cimbol 3to7R
Concert Flute 8' Voix celeste 8' Cornet3to5ond6R
Flute Troversiere 4' Progressio3to5R
Flogeolet 2', l' Shorp mixture 3 to 5 R
Open Flute, Wood Flute 8' Corillon2to3R
Flute dolce 8' Rouschpfeife3toTR
Rohrf lote 8', 4' Sesquiolter 2 (to 3) R
Spitzf l6te 8',4' or 2' Tertion 2 R
Woldflote 2'
Flute hormonique 8',4'

vlll
The following chort is o scheme of fundomentolsond mutotion stops indicoting the pitch they produce:

Harmonic Series
Pitch in relation to note played
4',1z',1t',
two octaves lower
one octave lower
a perfect fourth lower
8' i normal pitch of note played
6-2/S', a major third higher
a perfect fifth higher
a minor seventh lower
one octave higher
3-1/5', one octave and a third higher
one octave and a fifth higher
one octave and a seventh higher
two octaves higher
1-3 / 5', two octaves and a third higher
two octaves and a fifth higher
1-1 /1', two octaves and a seventh higher
three octaves higher

IX
 ELEMENTARY RU LES FOR ORGAN PLAYING
Position ot the Orgon body ond honds flexible ond firm when in contoct with
the kevs. The ottock must be decisive with flexible
Correct bodily position is of greot importonce be- elostic fingers. During solo pedol possoges the honds
couse of its effect on the technique of performonce. moy rest on the seot. The position of the feet is of equol
The orgonist seoted in the middle of the seot, must irnportonce. Generolly speoking the knees ond feet
hold his body erect sufficiently inclined forword to se- sh,--'uld be held close together, the feet mointoining con-
toct with the pedols. During o prolonged rest, the right
foot moy be ploced on the swell pedol. Attock ond re-
leose murst be quick ond decisive.
F lor Pcctcrs
How to Proctice
shorvirtg
Much time ond effort ore wosted by unprepored, un-
corrcct methodicol proctice. Mony ployers know o piece only
ofter ploying it over ond over ogoin. lt is o mechonicol
position monner of ploying without intelligent grosp of the com-
at Consolc
position.
Anolytic study must prevoil. No motter how simple
of an C)rgan o composition, its stru.cture should be onolyzed before
octuol proctice ot the keyboord.
ln the beginning, oll ploying should be very slow,
eoch hond ond the pedols seporotely. ln polyphonic
works the student must decide by previous study to
which hond eoch section of on inner port is to be os-
signed.
Where finger ond pedol morks ore not supplied, the
student should determine these only ofter coreful study
ond octuol triol. Once determined this fingering ond
pedolling should be memorized ond permonently re-
toined.
After procticing eoch hond ond pedols seporotely,
both honds moy be procticed together; then eoch hond
cure comfortoble reoch of the monuols. His posture re- seporotely rvith the pedols; ond f inolly, monuols ond
moins quiet while ploying with the elbows close to the pedols combined.

X
 REGISTRATION

For Choir Accompanirnent o lorge group with o principol chorus of 8' ond 4'ond o
mixture on the some keyboord. ln cose one wishes to
For Ploin Chont registrotion, preference should be ploy the melody in solo, use the foundotion 8',4', Z',
given to.8' stops of neutrol tone-colort e.g.t Bourdon 8', plus o Cornet on the first monuol or the solo, ond 8'ond
Gemshorn 8', Cor-de-Nuit 8', Clorobello'8', Flute o 4' {or the occomponiment of the second monuol. The
Chemin6e 8', Soft Flute 8' (not the Hormonic Flute 8') pedol should be registered with l6' ond 8' stops, ond
or o soft oid-style Principol B'; with o Bourdon I6'in the olso coupled to the second monuol.
pedols, oll this nicely odopted to the strength of the
choir thot is to be occomponied. For the occomponi- For Orgon Literoture
ment of children's or women's choir, o soft 4' stop moy
be odded, which is olso odvisoble for o smoll mixed For orgon works of the old ond clossic literoture
choir. with o contus firmus melody, use o Cornet 5 ronks,
trumpet 8', or softer reeds such os Cromorne 8', Schol-
For o lorge body of singers (congregotion) or for o mey 8', and Regal 8', either alone or with the addition
lorge mixed choir, the orgonist moy odd occording to to the soft reeds of o few mutotion stops or o mixture.
the strength of the voices, the position of the orEon, the Orgono Pleno in the clossic pre-Boch ond Boch peri-
size of the building, strong 8'ond 4' stops, os well os 2', ods meons generolly Principols (Dioposons) l6', 8', 4'
even mixtures on the Greot, ond sometimes olso o soft ond.2', plus mixtures, cymbols ond o few not-too-heovy
l6' stops. Stops of o pronounced string quolity should reeds.
not be employed in the occomponiment; theyrsustoin A combinotion of o string (not too smoll scole) o
less successfully, ottroct too much ottention, ond lock Solicionol 8' ond o Nozord 2 2/3' con be used with good
the dignity ond reverence proper to this essentiolly results insteod of o soft reed, os on Oboe. A Flute B'
socred music. A soft l6' pedol with o discreet 8'odded (or Bourdon 8') with the some Nozord 2 2/3'is o good
best sustoins the voices, ond thus mointoins pitch. Per- imitotion of o Clorinet 8' or of o Cromorne 8'. When
hops it is preferoble in the cose of the more eloborote one mixes o modern Vox Humono 8'with o Rohrf lote 4' ,
melismotic melodies not to use the pedol, or ot leost o Nozord 2- 2/3', or o Tierce I 3r5' \or with the oddition
to do so with greot discretion. lf chonters olternote of both the lotter) the sound is like thot of o soft reed,
with the choir it is well to use the pedol onlyoteoch with o color useful in the registrotion of old orgon liter-
entry of the choir. oture.
For the Old Mosters ond the clossic lrteroture, the
For populor hymns ond choroles the generol rules orgonist should not use too mony heovy reeds, os they
for proportion ore the some os those given for ploin moke the polyphonic writing ond the voice leoding un-
chont. lt is odvisoble to occompony choroles sung by cleor. ln Romontic ond modern literoture the Vox

XI
Celeste 8' is used without tremolo ond for hormonic pos- cleorer thon in o concert holl where there is generolly
soges.only, never for melodic lines or solo. This stop not so much reverberotion.
should not be mixed with lorge flutes or mutotion stops.
, The finol guide to the ort of registrotion should be
whot one leorns through o good educotion in ortistic
The regist.rotion must be odopted to the tempo of toste, the study of orgon specificotions ond orgon liter-
the music ond to the ploce in which one is ploying. ln oture of oll styles, ond the experience of ployiig differ-
o lorge church the registrotion should be smoller-ond ent orgons.

lndex of Hymn Tunes ond Originol Compositions

Where hyn.rn tunes ore orronged in the form of chorores or chorole-
preludes, the voice line which corries the tune is indicoted os C. F.
(Contus Firmus).

No. Title Composer - .4rranger Form Page

III. TWO. PART MANUAL PLAYING
I Now, My Tongue, the Myst'ry Telling Flor Peeters C. F. in Sop. 8
2 God, My Fother, Loving Me Flor Peeters C. F. in Boss 9
3 Fother, We Thonk Thee for the Night Flor Peeters C. F. in Sop. 9
4 O Socred Heod Flor Peeters C. F. in Tenor l0
5 O Socred Heod J. Pochelbel C. F. in Sop. il
6 lnvention Flor Peeters 12
7 Worum sollt ich mich denn grtimen J. G. Wolther Ornomented
Melody in Sop. t3
8 Versus Vl Toni A. V. den Kerckhoven l4
9 lnvention Flor Peeters r5
10 O Gott. du frommer Gott J. S. Boch Portito l6
V. THREE - PART MANUAL PLAYING
I Prelude Flor Peeters 28
2 Now My Tongue Flor Peeters Elr. ,oo 29
3 Allein Gott in der Hiih sei Ehr F. W. Zochow ',., Sop.
C. F. in 30
4 Mognificot lV Toni G. Corissimi Verset 3l
5 Wie sch6n leuchtet der Morgenstern D. Euxtehude C. F. in Sop. 32
6 O Socred Heod J. Pochelbel C. F. in Boss 34
7 O Socred Heod Flor Peeters C. F. in Sop. 36
8 Veni Creotor Flor Peeters lnvention 38
9 Gottes Sohn ist kommen J. S. Boch Fughetto 40
10. O Come, All Ye Foithful Flor Peeters C F in Sop. 42

xil
No. Title Composer - Arranger Form Page

VII. TWO - PART MANUAL AND PEDAL PLAYING

'I Prelude Flor Peeters C. F. in Pedol 50
2 Prelude Flor Peeters C. F. in Sop. 5C
3 lnvention Flor Peeters 50
4 God, My Fother Flor Peeters C. F. in Pedol 5r
5 Fother, We Thonk Thee Flor Peeters C. F. in Sop. 5l
6 O Socred Heod Flor Peeters C. F. in Pedol 52
7 lnterlude J. Hobert 53
8 Prelude J. Hobert 54

VIII. THREE-PART MANUAL AND PEDAL PLAYTNG

I Jesus Christ ls Risen Todoy Flor Peeters C. F. in Sop. 56
2 Creotor olme siderum J. Titelouse C. F. in Sop. 59
3 O Socred Heod Flor Peeters C. F. in Sop. 62
4 Jesus Christ ls Risen Todoy Flor Peeters C. F. in Tenor 64
5 God, Fother, Proise oncj Glory Flor Peeters C. F. in Tenor 67
6 Von Himmel hoch F. W. Zochow C. F. in Pedol 70
7 Jesus Christ ls Risen Todoy Flor Peeters C. F. in Pedol 72
8 Andonte J. L. Krebs Th ree-port 75
9 Von Himmel hoch J. Pochelbel C. F. in Pedol 77
l0 Unto Thee I Cry, O Lord Jesus J. S. Boch Ornomented
Melody in Sop. 80

IX. FOUR - PART MANUAL PLAYING

I Holy God, We Proise Thy Nome Flor Peeters Chorole 82
2 Versus Vl Toni A. de Cobezon 83
3 Versus I Toni J. K. Kerll 84
4 Liebster Jesu, Wir sind hier J. S. Boch Chorole 85
5 Versus V Toni J. Pochelbel 86

X. FOUR - PART MANUAL AND PEDAL PLAYING

I Now, My Tongue Flor Peeters Chorole 88
2 Dernier Kyrie (From Gregorion Moss F. Couperin C. F. in Pedol 90
No. lV)
3 Herr Gott, loss dich erbormen H. lscoc Chorole 92
4 Jesu nreine Freude J. S. Boch Ornomented Mel. 94
5 Gelobet seist du, Jesu Christ J. S. Boch C. F. in Sop. 96
6 Prelude ond Fugue in C J. S. Boch 100

xlll
 II. EmrENTARY ExnncrsEs
Attack
Keep the hands motionless and the fingars ir ccntaot x.ith the keys throughout the exercise. Practice hands s€parately at firct,

(orrca J = oo)

+ .J 1-
,l U e 4. €>

,l
(

]I. & R, Co.509l

 Legato
Perfect legato playing is an elementary anal ess€ntial factor in organ playirg. Thers must be no break in the line as fingets pass
from one note to anotheri nor must there be an oyerlapping of the tones,
(circa J. (r0
)

i)

3
I

I
4

Legato and staccato notes

i)

)1. & R. Co. 5091

 Crossing of the thumb

Finger - crossing
A line over the figure indicates crossing oaer the finger.
A line under the figure indicates crossing under the finger.
6464 oioi aI
4343 4343 3 3:
3 t2 3 2 o3

3 ?3 ?-
32
4343 43 s!
ris-+ 64 +9

oo
k.r& 232
tazqtag4e
4a{613464
)r.&R. Co.5091
 [+

Substitution
The substitution must be made immediately upon ariving at the new note.
4-6
etc, 3-4 etc.
t-2

lv?,
3-4 etc. L
3
l=L
4-3
3=i
4-3 etc. Transpose into :rll keys.
4-5 4 6v4 6v4

6--A 6--4 6
ooo
4_-5
O*O
etc. 3. _4
4-;J a-J tJz
2-l
-t

r-12 l-j2
3-4 3-4 4.-3 Transpose into all keys.
3
b
2-3
1r-6 Z-3
4--b
;:=

.\1. & R. Co. 5091

 Glissando
Finger glissando, from black to white key.

5 5 _5,
3 -=:3 3
etc.
-3

Glissando of the thumb

t_
t

)1. & R. Co. 5091

 Rules for performance
1)A repeated note loses one half of its value in a quick or moderate temPo.

Allegro J =gZ
Ex;rmple

Fugue in E. J. S. Bach (Peters trI)

Allegro J = ao

Example

Played

z) ln a slow tempo a repeated note loses a quarter of its value.

Adagio J :46
t,.."rOr" Played

o4+ -€> a+.+' 7:. =. 1' + -G

I lr
tl

Christus der uns selig ma.cht, J. S. Bach (Peters Y)

Choralprel:
Adagio J = 54

Exirmple PIayed

II.&R.C0.5091

I
 3)A repeated note loses the value of the dot.
Moderato J = ros
examrte

t
Canzona. J. S, Bach
(Peters IY)
Andante con moto
Example Played

4) When two adjacent parts have a note in common, the latter of the two is treated as a tied note.
Choral in A. C. Franck.
$fegTtt--i9z I
-+-t-
r

Example
ar xt L
)-
r fx t- rrf +
Jb) l )- -J -l LI

5) In "Pleno" or in comparatively loud, strongly rhythmical passages, successive chords are played detached.
Toccata 'in .F. J. s. Bach (Peters III)
AT1 J
Example
.tr
6) Skips of octaves, partioulariy down$ard 6kips ar6 playeal detacheal at the end of phrases, when the first note occurs on the
strong beat, and the second is followed by a rest.

Regdding mole ertendeal rules of perfomaaoe ard ornametrtatlon see "Ars OlAaai" complete orgaa Deihod h tt!,ee parts. C. F. Iletels Co!p., tiy
 III. TWO-PART MANIIAL PLAYING
8

I{ou, My To e, the M3tst'rY Telling*

Moderato J = sz
1

apas0n

+This melody is also known as a setting of. Tanlun ergo sacramenlum'

]1. &R',Co' 5091
God My Father, Looing Me
Andante J = os
IU4 t

fts

.J

Father, We Thu 'nk Thee for Night

the
t)
Andannte con moto I =22
r IIIl
lll Oboe 8'
D \
Il Bourd., ,')
0ctave 4' \

II. & R. Co. 6091

10
o .cre& h

Flute 6
Oct avc

4
rnopean

)1. & R. Co. 5091

 11

Sostenuto J. sr Pachelbel 1653-1706

J.
III z
3

lt. & R. Co. 6091

12

Inoention
All.egro moderato J=so

t t uu,,a,,tio,,*(
6 B'4'z'
trIixt.
<

Il. & B. Co. 5091

 Chorulprel: Warutn sollt iclt mich denn griintm
Andante 2* J. G. Walther 1684 - 17,18
Ir
I Flute 8' / 7

N,,sard 2?,((
11 )
/(
ll BourAon A'1
Flute 4' \

rall.' B
-_74+

.---,.----tf-
* 'Iire trill
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l1+

Versus VI Toni A. Y. den Ksrckhoven 1627-1673

I
r----G+
""\
8'4'2'< 1f leggiero
B ,'liili.
\rtll^t't tI -:,..-' 7.

T
I

i
Inoention
Allegretto .lt = s

I Soft 8' (
9 n.+'z' (
odint rv3(

2-----i--..--

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1{i

Partitat O Gott, du frommer Gott J. S. Bach 1685-1750

Andante con moto J = 68
II Trumlet 8'(

10(
' lil#:+"11(

(
3
' #
fee** 'ry1
_--fr_
yed: +}l:#= (2) played: *!t1}!h-- or kfitt-)-
-d.€7--
-n-
 1= 5 2 72

?cano forte

'riD.=
t3 73
piano iforte
4 I lil--lt 3

Il. & lt. Co. 5091

18
IY. ELEMEI\IITABY PEDAI, EXERCISES
To indicate pedalling the following signs are u6ed: A for the toe, u for the heel. When prhted above the not6, the sign indicates
the use of the right footi belo1rr the notes, the left foot. Artackt W to\tchlng, attack afld release the notes quickly and decisively.
Krrlp thc feet in contact with the keys. Never rhove the legs but ooly the feet so that the ankle acts as a fulcrum. For th€ follow-
ing exercises keep knees and heels together,
(oirca .i = 6o)

Exercises for alternate toes.

I\

Y. &R. Co. 5091

Exercises with different intervals (long pedals)
(ciroa J =oo)A
 <<a
-
j
(,
;
)a
ri _
 o.l
af
Repeated notes.

t4
Y
/\

t5
+
/1

Exercises with different intervals (long and short pedals) *

/\/\

* The "long" pedals are the equivalent of the white notes on the manual keyboard and
the "short', ped.als are the same as the black notes
on the manual keyboard.
.ll. & R. Co. 5091
\f. & R. Co. 5091
 Four Pedal Studies (Toes Only) oo
po

Allegronmoderato
Flor Peeters
i=rtr
f ro's'

l'lor Peeters
2 16,8,4,

/\
Andante connmoto r=gnn
Subbas 16'
/1 Flor Peeters
3 l'lutc 4'

r\^- -^r\
/\/\

)f .-&R, Co. bo91

24
Flor Peeters
Allegro J =sa /1

Foundat.
r6' 8'4',
Mixt.
Trumpet 8'

)l. & tl.. Co. 5091

 25
Y. THREE-PART PLAYING
Preparatory t\co-part oxeroises for each hafld aeparalely. Th6 fingering abov6 the notes applies to the riEht hand, belo!r' the notes,
to 'the left ha.nd.
Moderato6 J = so 5-
1- -r21
I Bourdon 8'

I r ri
:
fy r
6

-13
4- 7- :^ 2l
I
-52 ^t 35
45

2
t21-
B t'tut. s'
€\ ---
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7
i;
1

272- n2
7 l^z 5--4545 ! ,
5 54

i t 1^r

-21-
D--.J v2
3
rrr 53
Y.
; 1

.V. & R. Co. 5091

26
Andante J = zz
5- 6- 4 - 5 -
t4 L2 l^l-z

$ Diapason 8'
+
t3 3
lr
5 ii t-

5-4 34-5 5- 6 - 4 - 6
g -2 4 - 3 -- 2 4 - 5
212 2212 134 i27 2 I 3 7 -,^2 - t 7 3 2 1^1

3-t-
?-o
rl
12 46-4 t
53 44545322 6 i
Allegretto J = tio
Or,, 3 5^5 45
-I t

4 Salicional 8'

72Z,^l27 7
5-4^3-4 4

-4
1-3

-2 -1272 212- t
,ts
5-3 4 -__r3 - 4 8--{

II. &. tt. Co. 5091

 ,t1
a,

Allegro moderato J=sa J. Habert t833-1896

64 45
2-3
K
u
Principal
8,4,
\-=----
I
2-
I',f
64 '6 Y6
-4

6
2
4327

27 -5 2127
I
2345t 27
4- 2 -213
5-
5-
2L
1,+-l
a_-z 4-
132

o 31 t t2t-
-3 45 3 247
b

L234214

452
7232
54

'M. &R. Co. b091

28
THREE - PART MANUAL PLAYING
Prelud,e Flor Peeters
Andante J = oa
36
t-

r Soft (
1 Fo,rndation (
8',4'
(

ar rt -f
'
rT t--
L | |
-l€. T=
LI
_ I

)1. & R. Co. 5091

 29
Choralprel: NozD, My Tongue*
Moderato J = oo Flor Poeters
34
l2 54
2 ii 5^^6-4-3
1 ,1 &1 ?t 2

f)
'<
I
Gemshoro 8'
Flute oct. 4' I
c)
fil*
lr 7 r rT rr r I lr r.,

)) )bJ ) _l

,{_j=/ 3 r---,1 z

272
45
5-5 4-7 3-4
231 1U &1
b
z"r z i;i
-E
5 1 rall. z t

i itr rrFr rr 7 . rr r rr I- | r#frr 7

ril ilT U

-------.-
|iz7i 4
4-? 7
727 5
4-6
* See note on page 8.

M. &R. Co. 5091

30

Choralpret: Attein Gott in der Edh sei Dhr F.'W. Zacbow L663 -77t2
l=s4
.46^4 36 -4 d-s 4 2-
b -L2l3
L/OnmOto 1 3 I 3 L 72 2

II
A
eJ
Rohrflijte 8'
Blockfliite 2'

5- 4-5
^lB 72 4213 2

35 -4 54545 -45
1 72 32122 1^^t rail. i

\U l-=-. _7

II. & R. Co. 5091

 31
Verset, Magnificat IV-Toni
G. Carissimi 1605 - 1674

Allegretto J = ss

II
- ( Bourdon
{ ]( 0ctave E'
8' r I l t. lz 1

\t\ l
Cymbel 3r
\ ,.fll
\r

4
5

M. & R. Co. 5091

 oo

Choralprel: Wie schon teu,chtet der Morgmstern

D.Buxtehude L637-L7O7
^+
Con moto '=?u. tl5 4- 3

5 ,,,lllilq4f III
{ff.fr i rrT f rTrr 7' [tr
.----\
I

5#

\-j

M. & R. Co. 6091

 33

121321

45 46 45
{ ---------

u I lr rr l-illll rrri ?tllt = t'7'

I rrff'

{5
4 rall.

'L qr-rrr' l-lrr' I r"r F-- -r' Y' al' Y.

rl t ,.1-- I i l^. I I tT-r
-
1
2e4 7.
It (p.a.)

)f. & R. Co. 5091

34
ChoralPrel, O Sacred Head
J. Pachelbel 1653 r'706
-

Sostenuto J = 5o d5 5.45
5 54 t17 -2 3-
5
r:2-1-
e 1-2 -

I Diapason 8'

ilJ'F F=v'

M. & R. Co. 5091

 35

^4,5
a-L
4 5

12 c5 .5
1- 43 - a- L -
2-1- 3! ,- 5

4! 13 1-3 1-
5

}{. & R. Co. 5091

36
ChoralPrel: O Sacred, Head Flor Peeters

Sostenuto
3

11 I kincip. 8'4'
/ Flrrt" 2'

4
64
T_ f'
5- 5-
5tzlz,3 212
7Z 7-- z t z \ & -
43 l--

rr I7..-.-t I - t-I T--,?L-JJ-.]

iit
|
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-L
)))
FT-r
L
1
4
5 fizs t 5 4 rT l-
1
5

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i r 1213 2

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(\
r-N c
IN
)
,i
IN
N
+N \ts
i IN
6N
(
a nl (
IN
\:r aJ o
lTm
6N
IN
)
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la
lm
rJr N
t6l
IN
lo
6N
(
N IN
ls
Lm
6Q
o
O
d
O
;
€
-\-r-\,-r--l
\--\.,-\-/.
38

I ntentiott r.rn "Veni Creator" Flor Peeters

3
4.
noanle
And d :6
4
z ---

IJ T r TI , * -t?f t
8 I
ln---J I l)r l

5- 4
&r
fr 5, \ 2 1

u rrl-i t rtI t)
:-l.t--L.,, l_:
a '-l} ) )-?

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 39

3-4 46
1^ ^i
3
11 2 1) &

JLrllit?.

3 4 5 4 6_ -626
2-1-21 2l:r42 4 -54-
237_) L1 212

l)
r ?L-J l- f r
I
_t- . ------l-
lltt'
)"')' -b
7
625 n
211
45
t;r - -l
434
4 35 4 4364364 I* Octave 4'
1
-_r1 2 2t3212 5 43
I

12
6

.\1. & R. Co. 5091

40
Fltghetta on: Gottes Sohn ist komrnen

Poco .lrllegro ) "zz

-1> -)
F[TJll', lu-=J
3;f;:,'
I

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)
 5

.L ---..--\

tr-l 5-
3
127

121
:1 4 5- 4- 5- 5
"12 3 31 5 54 , 3
I

-/4
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42
Choral?ret: O Com.e, All Ye Faithful
Flor Peeters
Modderato
TII s:
J = 69 3+ 3 I

III Schalmey 8'

Nasard 22ls
u soro ' .7'
tf t-r
I
10
II Soft Flues
rr I _l .r] .l
lrr
+)-l a'1.,.-__l
--u- -1.
)44J ). fi.I
8',(4',)
l9-l
'-'-a6 t -2321 , t <1
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r'1
4
35

t*
3

u r rf,t ' t\ 7' rr ilr.... I rrr

\
il ) )*)ti
I

I -l n t.,i' r.L -t

2 7
-'l
7- -^t7--27tztZl2T1
3 4 5 4 3 -2 a 4 5 32
42 - 5

rall.

12121 -45 7 7 72 Tz 1z l^i^^l

6-4-32545 43 ;^ ^r^r
4v6-6-4 z i-li; 1-21
54343 5

11. & R. Co. 5091

 VT. PEDAL EXERCISES FOR TOE AI{D HEEL 43

Attack
(circa J = G6)

A u r\u
U Au,1 [u /1u IuAu
A u l\u A, ul1u Aulu
/1 U/\ U

]I. & R. Co. 5091

44

Au /\ Au AuA
lruAuN^ ,->

l\UA AUAU L3'JI

/\U/\
)1. &R. Co. 5091
 +i)
a ) Crossings
The signs i anO 0 ind icate the crossing of the feet in front.
The signs A and i ndicate thc crossing from behind.
-U

,\ l\ l\^l

nn A/1

b) Substitutions. 1) of the feet. 2) of toe and heel.

/1

Au
U
Au
UU
Au l1u
vv
Ur\
vv
r1u
Ur\

Au Auvv
U/1 uA

c) Glissandos. (between short and long pedals)

A--/1 /\-^

M. & R. Co. 5091

46
Four pedal studies for toe and heel
Flor Peeters
Allegro Ju= rrn rA AU lu,t
u u

/\

/\

Au

)1. & R. Co, 5091

 +/
Andante con moto J so Flor Pecters
A rr A
=
A uA Au
B rc'+' z'

r-------t

|------.--l

Au l\

tt

)1. & R. Co. 5091

48
O Crtme, All ,'c Faithful
Flor Pecters
Andante con moto J : zz
Subbas l(i'
:J Flute 8'
Soft Reed 4'

r-----------l

llll

r-------l r-----__lr----l

Irl l I-J

)1. & R. Co. 5091

 49

Foundations
L t6'8' 4'
^ .Llixt. Reeds
u/\
r----t f-1 r------.]

/\rr

r--..-.]

/1

Lr lr
/1

F---]
r--.l

,U ,

M. & R. Co. 6091

 t
50
VII. TWO-PART MA}WIAL AI{D PEDAI, PLAYI}IG I
Prelude Flor Peetcrs
Sostenuto
Right
Hand
8',

1
Ped al
t6'

Pralu de Flor Peet ers

Moderato J =
I Flutes 8'4',
HTI|
9 t

'*[1s;r I
I

I nt,c ntion I
Flor 1'r:otcrs
Andantino J =ez
2,
| 7

R.H. I

o
tJ
forraution. )
Mutations \
Ped.
t6'8',4' I\

]f.&R
I

I
 l -t
;) l-

God, My Fctthcr
\ Andante con moto J = 6e l'1o r Por:lttrs

12 1

1 /
Princ. S' 4'
L.H. \
4( Ped. I
Subbas 16'I
Trumpet 8'\

I Fath,er, We Tlt.ank Thee

Con moto .l ao
Flor Peetcrs
=
I t 4.--' 2 5- I 2 3
II Cromorne 8'
R. H.
J
I

5
Ped.
Au l\ Au A 1u T-- T* T /\ UA
l6'8'
A-----.--: t __)-z ^q__
7 I 53

'uq-
t t-e* /\ T----r A- U/\ AUll
-- +
/\ /1 /1 ll
A\q-il u /1u \l /r
/\ I ul\u
" /\ u ,z r

)1. & R. Co. 5091

I
?
K., I

o
I

Cantabile

)1. & R. Co. 5091

 53
Interlud,e
Moderato J = sa J. Habert ,.833-lslll;

I Foundations 8'4'r
L.H. (

7l Ped. /
t6'8', \

?i

----
/\/\ \-<r. l
51+

P relu de
Habert {83.3-'1896
Allegro
1 Octaves 8'
iMixt.
II . II.

B
I'ed. (
f-,tt-
t6' n'4

I 314 5

a,)

/\ /\ /\u-A /\ i1 AU -l-''!
u7 t .---.-- u 71
J U
/1
i u

4 5 r3 5 I

a _J -'t

/\/\/\
^A ^/\A

7u., ,r-! ------

u /' u u t\ u 11 I T i\ l\ u I'I Tl
---:------/'
tr
^
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 i)o

74 13 13 51o, .I

+ + .ry+
-:u
/\

[1u AnuAli
^ ^ ^T-ll u

.f,argo

-_ - |i-_iaLt_
?

)1. & R. Co. 5091

56

Y[I. THREE-PART MANUAI AI\ID PEDAL PLAYII{G

Je.sus Christ Is Risen Today
Flor Peeters

11. & R. Co. 5O9l

58

a o o

Au 33 42 I

/1

l --'-.- /1 r/1

__=._:--.-=_ A
U

rall.
At 3 I /r
'J
--- --__-------"'/ -/'
/\ r,\ /\
U /\
-1

-
U. &R. Co. 5091
 59

Creator alme siderum

J. Titelouse 1563 - 1633

,. Moderato J = og

ll Trumpet 8'

III l'rincip. 8:4

Brd. t6'8'

M. & R. Co. s09l

 6t

_€_

M. & R. Co. 5O91

62

o Socred Head
Flor Peeters
Andante J = os
3
III Oboe 8'

Salic. 8'
Rohrfliite 4'

Soft 16'8'

M. & R. Co. soel

 64
.Iesus Christ Is Risen Toctay

Flor Peeters
Andante con moto J = sa
+ trI
3 4 2 --
Flute 8'2'
III 0ctave 4'

II
--6+ a€F
-o. +
II Cromorne 8'

ru- U /1 r---l /1
ped. Subbas 16'
Flute 8'
n\-----.-.--__ 'A ' l--- '-L l
,t A

t.3 2 2--/ ^3

tl)

4.,' t1 r- -----l

ru t /1

M.&R.Co.soel
IO
o
n
o
O
{a
*:
\\--.!/--L-//
'\-^./.----l
 l)/
God Father, Praise and GtorV

Flor Peeters
Andantino J = oo
5
57-
II Foundations
8'4', 2y3

I Trumpet 8'

-____-----_--
Ped. 76' 8' Q')

lt

M. &R. Co. 50s1

 68

----:--

q--_----]

U. &R. Co. 5091

 69

',1^l

II. & R. Co. 5091

70

Choralprel: Vom Hinmel hoch

F. W. Zachow t663-t7t2
Allegro moderatoJ.so
6 z-----1--, 3 3

Bourdon 8'
ll Flr.ite 4' 2'

Bourdon t6'
\'o x humana [.] '
Flute 2'

U. & R. Co.5091
Jesus Christ Is Risen Today

Flor Peeters
Allegro molto maestoso J = e6
I lc

(a n a ttt) I )If non trolclco legato

Foundations 8' 4' 2'
]lixtrrres, Cymbels

-\--l

I'crl. l(i'ti'4'& I, II, III

,t reeds 16' U'

I{. & R. Co. 50sl

a-
o
o
n
C;
O
q
€
-\---v.-r--l
 ,ID

Andante

J. L. Krebs 1804-1880
Andante J = os
B II .i. 4--
II Salic.8'
Nasar.d 2/s

I Flate 8'
21
fi
/\ /1

t6' 8'
u 11 1\u ',11 l1

M. &R. Co. 5091

'/o

u 11. u

UAU

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lI.&R.Co.sos1
 Choralprel: Vom Himntet hoch

J. Pachelbel 1653- l70rj

Allegretto
I

J.=52
9 II E/_;
h. ll'
t N;rc h t
I I ]Oct;rv. 2'
/Nachth. l'

rrr Rohrf l. 8'

Spitzfl. l%

0boe 8'

>i 2 l3c; /) -: :>.

.\1.& R. Co.50e1
 79

u,li

M. &R. Co. 5091

80

Chrtrulprel: Unto Tltee I Cry, O Lord Jesus

J. S. Bach 16a;-17;0
Largo ) = so
10
Ill lirrrrt(l()rt li
( ornrt 5r

I I (i,'rlt'kt ll'
I.'l . douce 4
53 54
molto lcgtt.trt

i\ U/\
Soft. 16'U'
A portrrto il peiale

,-------->.^
r1.-l-
A ,s,./

-t I
?i' 62.4 I I ,,

r/\ tl /\
V).

I l,l,rr.ed,7I4E7WJ-.
)1 .
;-
,( l(. ('r,. 5o!r1

-
 81

6 I 6 2l;

\y
/1

M. & R. Co. 5081

82

IX. FOUR.PART MANUAL PLAYI1VG

Holy God, We Praise Thy Namel Flor Peeters
43
Andante J =-rio 2l

, (
1 1ff8'4',
"rrr.rO.
Mixr' <
(
_ri
43

JD [^t
I

ll-
1' 't
4
2l 2(, T^
4ro
^r
i)^
^4 d2434
t,
I 2Ot2

tzI
D

II. & R. Co. 5091

 83
Versus IV-Toni

A. de Cabezon t5tO - I5 66
Cantabile J = ao

.n , O.r.n. ,'(
f..rt-rt a'l

'o
4- 4 -
32-4
11i 2 -lii

,
b-

M. &R. Co. 5O9r

84
Versua I Toni
J.K.Kerll ,.627-t693
64
Con moto J t-3:
=

O I
O
Foundations =iu\L?p=
8'4, t.h-
4

4 64
3-2 lz
I rl a. I ;- -
[
ta)
--Jl?
l-
I t Ll- t L-[ -]--Jr
a
\-
1 7 ..1\_t I ) l -r_ a-'Tt
i

1 "t3
t21?T:l

rall.
-L
t'-

\r
(

D fr
M. &R. Co. 5091
 86
Cfioralprel: Liebster lesu, Wir sind hi.er
J. S. Bact 1686-1760
Adagio ) =oe t
.1-
2
D
I {-
l2
/i
IlI
Spitzgamba 8'
4 Bourdon 8'

1 3 I 2 I 21- 2
al,1451 -^l^1
o
4-L{
3
L1 t^4l^l s 4
3 3^4
-
I -l

n ri3
.3 ^r 545 I
o -^3
,-z 1--3 2
4'-*"X -4 b-
t2 13

vl
E--r,il- T
I

(ped. ad libitum) l/
72 1-
45 -2^ ^t
M. &R. Co.509t
3 33 1l
86

Versut V Toni
J. Pachelbel t653-t706
Andante sostenuto J=os

+== rtrr ti
Foundations '\\ I
$t
I

B'4'2'
Mixtures
I
(r
I

\
-:

,U
t=T I

-J, \'---
o,

M. & R. Co. 5091

 87

t-?
----- ' --l

l, u---3 I 32
5 - -5 3

-4(r4 35
L-l 212 12
4

)-r; J)).
tzlt^I E
3-53 3-

6-
, 46 tL 46454 54 4--34
-1232 3
-272
,l^tnt

tl +
-----------/l

4lr 23- 4

M. &R. Co. 5091

88
X. FOTIR.PART MANUAL AND PEDAL PLAYING
Choralprel: Now, My Tonguex
Flor Peeters

Sostenuto J = eo
1 ru
IIl Oboe 8' Solo

t'Yr
II Salic.8'
Soft Flute 4
2t2l 21 21 121 21212
643 54 54
-1-3
A

Ped. 16'8'

1 1^2 ItL?3,l-"-.t - I t
? 4 6--,5 o 4 4 6 3 4

il

* Stre note on page 29.

11. & R. Co. 5091

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