In Hymn Studies For Organists

In Hymn Studies for Organists, Parley L.
Belnap teaches the 15-step method, also called the "Individual Voice-Part Method." Step 1: Learn just the soprano line, with proper breaks, ties, and fingering. Step 2: Learn just the alto part, with proper breaks, ties, and redistribution/fingering. Step 3: Learn just the tenor part with proper breaks, ties, and fingering.
This method is not as involved as the 15-step method, but is very effective for organists who are becoming more familiar with organ technique. At all times make sure the breaks, ties, and fingerings are correct Step 1: Right hand alone Step 2: Left hand alone Step 3: Pedal alone
Step 4: Learn just the bass part with proper breaks, ties, and pedaling. Step 4: Left hand and pedal (this is probably the hardest step) Step 5: Play the soprano and bass lines together until perfect. Step 5: Right hand and pedal Step 6: Play the soprano and tenor lines together until perfect. Step 6: Right hand and left hand Step 7: Play the alto and tenor lines together until perfect. Step 7: Right hand, left hand, and pedal Step 8: Play the soprano and alto lines together until perfect. Step 9: Play the alto and bass lines together until perfect. Step 10: Play the tenor and bass lines together until perfect (this can be very difficult) Step 11: Play the soprano, alto, and bass lines together until perfect. Step 12: Play the manuals, the soprano, alto, and tenor lines, together until perfect. Step 13: Play the soprano, tenor, and bass lines together until perfect. Step 14: Play the alto, tenor, and bass lines together until perfect. Step 15: Play all four parts together until perfect. This 15-step method seems very long, but it is very effective for a beginning organist. It allows you to focus on each line and the relationship between lines without being distracted by other parts. I highly recommend Dr. Belnap's 15-step method for beginning organists. The 7-step method to learning hymns As you can see, this method does not isolate as many different voice combinations as the 15-step method.
Why is a foundation important?

I've mentioned the importance of a solid foundation before, but I never explained why. In order to use some of the creative techniques for the organ, you will need to know the following:

What key the hymn is in, and what the tonic and dominant of that key is, in order to add a pedal point. How to add passing, neighbor tones, and/or suspensions to a hymn. How to play a hymn with the soprano, alto,and tenor in the manuals with the bass on pedal, and also how to play a hymn with proper legato technique entirely on the manuals. How to solo out the tenor and/or soprano while playing the remaining notes in one hand with good legato technique. How to play the alto line an octave higher (above the soprano line) How to switch the soprano and tenor lines (so the soprano is played an octave lower and the tenor is played an octave higher)
How to play the soprano as a pedal solo while playing the alto, tenor, and bass on the manuals. By looking at the date the composer lived, knowing whether to play the piece in the legato style, or whether to play the piece non-legato (which will be explained in the future) How to transpose a hymn in your head, even to keys with six flats or five sharps. And more...
Proper Positioning at the Organ When sitting at the organ, keep the head, neck and upper torso aligned as if you were standing. Some like to think their head being pulled towards the ceiling by a string.
Stay relaxed and flexible through then neck, shoulders, upper arms, lower arms, and into the wrists. Keep your elbows close to the body. Proper Hand Position "The forearm and back of the hand are aligned in a level forward-back plane, with no sharp protrusion of the knuckles. The back of the hand is level from side to side, guiding the fingertips into the keys with no tipping from left to right. The fingers curve naturally, and the fingertips rest naturally on the keys." I could have lifted my wrist a bit more. (I didn't realize how hard it was to take a picture with one hand while holding the other in proper position!)
Additionally, you should play with your fingers in front of the black keys whenever possible.
"Nails must be cut short enough to allow fingertips--not nails--to contact the key." Here are some incorrect examples: Playing between the black keys instead of in front of them:
Straight knuckle/collapsed finger joint:
Sunken hand: Flat hand:

In Hymn Studies For Organists

Uploaded by

Copyright:

Available Formats

In Hymn Studies For Organists

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

In Hymn Studies For Organists

Uploaded by

Copyright:

Available Formats

In Hymn Studies for Organists, Parley L.

Why is a foundation important?

Straight knuckle/collapsed finger joint:

Sunken hand: Flat hand:

You might also like