tag:blogger.com,1999:blog-2411086189669892872024-03-13T14:38:07.497-07:00The Latter-day Saint OrganistA resource for individuals called as ward or stake organistsUnknownnoreply@blogger.comBlogger313125tag:blogger.com,1999:blog-241108618966989287.post-14288202890945475262020-03-12T12:38:00.000-07:002020-03-12T12:38:04.159-07:00Cleaning and Disinfecting Organ KeyboardsWith COVID-19 precautions being undertaken in many areas of the world, I thought it would be a timely topic to discuss disinfecting organ keyboards.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtda-Ii07dMRvKPf03AruXAhjqWtmVGzEsBcyNrkmZqRYY7CXPWB82lTNZw_CTqnQUN-aIpWxyWAGq6S2dgG-D_AOcjF1tqEKj06JJQN1VAigZfr86EttbliepgaXuAeRT2lv9J91wIEo/s1600/disinfecting2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtda-Ii07dMRvKPf03AruXAhjqWtmVGzEsBcyNrkmZqRYY7CXPWB82lTNZw_CTqnQUN-aIpWxyWAGq6S2dgG-D_AOcjF1tqEKj06JJQN1VAigZfr86EttbliepgaXuAeRT2lv9J91wIEo/s320/disinfecting2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Picture <span class="ILfuVd"><span class="e24Kjd">©</span></span> Jennifer Morgan</td></tr>
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What products are safe to use, and which products will damage the keys of the organ? First of all, do not use a spray! A spray can get into the delicate electronic workings of the organ and could cause damage. While many sources advise against using chemicals on keys, the general consensus among organists is to use disinfecting wipes, squeezing out the excess liquid back into the container before wiping down the surfaces that you will be touching. <br />
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Start at the top of the keys, and move the wipe towards you, taking care to wipe each key without squeezing out liquid that can drip into the organ. Don't forget to wipe off the power button, as well as stops or piston you will be using.<br />
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<a href="https://www.cdc.gov/coronavirus/2019-ncov/community/home/cleaning-disinfection.html" target="_blank">According to the CDC</a>, coronaviruses transmit most frequently among close contacts (within about 6 feet) via respiratory droplets. They transmit much more commonly through respiratory droplets th<span class="text_exposed_show">an through surfaces that may carry infection. However, current evidence suggests that novel coronavirus may remain viable for hours to days on surfaces made from a variety of materials, which could include organ surfaces, such as keyboards, stops, and pistons.<br />
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<a href="https://www.epa.gov/sites/production/files/2020-03/documents/sars-cov-2-list_03-03-2020.pdf" target="_blank">Click here</a> to access a document that includes antimicrobial products registered with the EPA to use against COVID-19.</span><br />
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<span class="text_exposed_show">Most of all--don't forget to wash your hands regularly, and avoid touching your face!</span><div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-241108618966989287.post-77019778579648187932020-02-29T00:47:00.000-08:002020-02-29T01:25:30.957-08:00Preparing for Stake ConferenceIn March, for the first time, I will be playing for all three sessions of my stake conference. As I've been <a href="http://organlessons.blogspot.com/2010/02/confidence-and-preparation.html" target="_blank">spending hours in preparation</a>, I thought I'd create a post that shares the steps I'm currently taking to prepare.<br />
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The most important part of my preparation is seeking the Spirit. With the Spirit, music is very powerful and can change lives. The Spirit extends our preparation, and makes up for what we lack. Without the Spirit, music can still be powerful and awe-inspiring, but that's all it is--it fails to reach deep inside the soul. This reach is necessary to bring healing and to strengthen testimonies.<br />
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As part of this pursuit, I asked for a blessing to aid me. This blessing helped me center my focus on my Savior, and provided much-needed guidance.<br />
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<b>Postlude</b><br />
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First, I worked out my postlude. I made a list of pieces that I felt would be appropriate, then played through each, listening for promptings as to which pieces would be the best, and which session they should follow. A couple of my final decisions surprised me, as they weren't what I expected to end up with, but I'm excited for them. I think they'll be very appropriate and "<a href="http://organlessons.blogspot.com/2010/03/lesson-12-prelude-and-postlude.html" target="_blank">extend the spirit of the meeting</a>" beautifully. I chose one piece for after the leadership session, and two pieces each after the other sessions.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghV2b6h8tzZ4cERTRzNqDtg8s8kXWEFsQXos2v5S99HakouBbSN-jfWks0BhSJfTTyk6_JlADmVejiTEQzHjaE2j0Ksgo4kMz5Zu8G8sW_2Jaf9fjVvnF6dLWoHFr5Hj62b1JycwAzOqQ/s1600/meme-words-mormon-1217975-gallery.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="447" data-original-width="447" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghV2b6h8tzZ4cERTRzNqDtg8s8kXWEFsQXos2v5S99HakouBbSN-jfWks0BhSJfTTyk6_JlADmVejiTEQzHjaE2j0Ksgo4kMz5Zu8G8sW_2Jaf9fjVvnF6dLWoHFr5Hj62b1JycwAzOqQ/s320/meme-words-mormon-1217975-gallery.jpg" width="320" /></a></div>
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<b>Prelude</b><br />
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Prelude is where I've spent most of my time preparing so far, and these steps take place over a number of weeks. First, I looked through my collection for pieces that jumped out at me, played through each of them, then made a list of pieces that I felt impressed to play. Often I even felt which session they should precede, which I noted next to the pieces in my notebook.<br />
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For this conference, the pieces I chose for the leadership session prelude mostly focus on the restoration (it's the 200th anniversary of the First Vision); the evening adult session prelude pieces are all of comfort and turning to the Savior; and the general session pieces include a number of Primary song arrangements. These themes aren't by my design, but emerged as I played through the pieces, listening for the promptings of the Spirit.<br />
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Next, I roughly sight-read through each piece, at the proper tempo, and made an initial timing of each one. This will guide me as to how many pieces I'll be able to play before each session: I have been allotted 15 minutes of prelude for the leadership session, 15 (but I'm requesting 20) for the adult session, and 30 for the general session.<br />
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Now that I have the estimated timings, I will make reduced copies of each piece, and tape them together to avoid page turns, then I'll practice and register each piece. Once the pieces are learned, I'll spend time on each organ to finalize my timings with registration changes. The final piece in each set will be one that can be extended or ended early if needed. This is especially important for the general session, as the choir will be singing a piece for prelude, and I may need to pad that time a little bit, to avoid an awkward silence after the choir finishes, but before it's time for the meeting to begin.<br />
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I also plan to provide the counselor over music in my stake presidency a copy of my prelude pieces along with the projected starting times of each piece, and a list of my postlude pieces. This is a courtesy and shows respect to the presiding authority over music for the meetings.<br />
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<b>Hymns</b><br />
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When I began to prepare the hymns, I first read the <a href="http://organlessons.blogspot.com/2010/02/lesson-5-interpreting-hymn-text.html" target="_blank">hymn text</a>, <a href="http://organlessons.blogspot.com/2010/04/lesson-14-marking-hymn-part-1.html" target="_blank">marked textual breaks</a>, and <a href="http://organlessons.blogspot.com/2013/04/how-to-beautify-hymn-accompaniment.html" target="_blank">decided how I wanted to treat each verse</a>. Then I looked for <a href="http://organlessons.blogspot.com/2010/04/free-accompaniments.html" target="_blank">reharmonizations/free accompaniments</a> for final verses or introductions, and played through them to see if I felt they would be appropriate. Since several of the hymns were less familiar hymns about the restoration without any reharmonizations readily available, I reached out to a friend of mine, <a href="https://www.carsonhymns.com/" target="_blank">Mike Carson</a>, who graciously arranged "hymnbellishments" of each of them.<br />
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(For ideas on hymn preparation, feel free to read my article <a href="http://organlessons.blogspot.com/2016/09/let-people-sing.html" target="_blank">here</a>, entitled, "Let the People Sing!")<br />
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<b>Practice</b> <br />
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Now, I just need to <a href="http://organlessons.blogspot.com/2010/08/making-time-for-practice.html" target="_blank">practice, practice, and practice</a>! I can do a lot of this on my home organ, but I'll also be spending a fair amount of time on the organs I'll be playing for conference. The first two sessions will be at my ward building. Since we're a new stake without a stake center, our general session will be held at a larger venue with an unfamiliar pipe organ.<br />
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Additionally, <a href="https://defordmusic.com/song-list/beautiful-savior/" target="_blank">one of the choir pieces</a>, which will be performed as the closing hymn, is written for choir and organ accompaniment, so trying to get that balance in just one rehearsal Sunday morning on a pipe organ will be very tricky. I'll register and practice several options, then have someone listening to the run through who can give me immediate feedback. Hopefully the balance will be okay!<br />
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<b>Conclusion</b><br />
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While preparing to play for three sessions of stake conference over two days is intense and very time-consuming, I also use these methods to prepare for every service for which I play the organ. I'm currently employed as an organist for a United Church of Christ congregation, and every week I prepare in a similar manner. Now, typically my weekly focus is less on prelude and more on the hymns, offertory, and postlude, as well as the piece I play during monthly Communion, but the concepts are the same. This preparation can also be followed for funeral services, and even weddings.<br />
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How do you prepare to play for worship services? Do you have any suggestions to share that I haven't mentioned?<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-241108618966989287.post-57858963729595802962019-09-10T00:27:00.000-07:002019-09-10T00:33:17.058-07:00Choosing Effective Fingerings in Hymn PlayingWhen your <a href="http://organlessons.blogspot.com/2010/02/lesson-6-breaking-in-those-shoes.html" target="_blank">feet play the bass line</a>, your hands are freed to split the soprano, alto and tenor notes. This article will help you learn the steps to choosing efficient fingerings that will simplify your hymn playing.<br />
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I apologize! This post is long overdue. In April I taught a class on this topic at the <a href="http://uvago.org/education/super-saturday/handouts-2/" target="_blank">Super Saturday</a> event sponsored by the <a href="http://uvago.org/" target="_blank">Utah Valley Chapter of the American Guild of Organists</a>. It's a subject I've always wanted to create a handout for, as I feel this topic isn't taught or focused on enough, and I finally did! Please note that this post will read differently from my other posts, as this information accompanied the class I taught. Please feel free to comment with any questions.<br />
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<span style="font-size: large;"><b>Choosing Effective Fingerings: Guidelines</b></span><br />
<span style="font-size: large;"><br />
</span> Fingering is deciding which combination of fingers to use to play a group of notes. The goal of choosing fingerings is to utilize natural finger combinations, while minimizing awkward stretches and finger crossings. When you use good fingering, your hand will be balanced and in control. Taking the time to find a way to play each passage as efficiently as possible will greatly aid your hymn playing.<br />
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In some passages of music, notes are arranged conveniently for the fingers, moving within a narrow range with the same number of notes as there are fingers to play them. These passages can be played with direct fingering, without using complicated finger combinations or shifting of the hands.<br />
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Other passages are much more difficult to play, requiring finger acrobatics and many hand shifts. In these passages, there aren’t enough fingers to play all the notes, so other fingering techniques must be utilized. You may have to cross your thumb under your fingers or cross your fingers over your thumb. You might play a key with one finger and, while holding it down, switch to another finger. These techniques are covered on the next page of the handout. Whether a passage is easy or difficult to play, good fingering is always important.<br />
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<b>Following are some general rules for good fingering:</b><br />
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1. Mark breaks in the hymn text first, to show where complete breaks (hand shifts) will naturally fall.<br />
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2. Place the fifth finger of your right hand on the highest note in the passage, and the fifth finger of your left hand on the lowest, then use the most convenient finger on each key as you play the notes leading to and leading away from that note, compressing and extending as needed.<br />
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3. If you run out of fingers, go back and try stretching your hands to distribute them over a wider area of keys. If you still cannot make direct fingering work, incorporate different techniques.<br />
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4. Never use your fifth finger before you arrive at the highest note in the right hand or the lowest note in the left hand, without planning for effective finger crossing, glissando, or finger substitution.<br />
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5. Try several different fingerings for complicated passages, keeping in mind efficiency and economy of motion. Choose the one that feels most natural to your hands. Sometimes you will need to work backwards, knowing how you need to land on a certain chord then figuring out how to get there.<br />
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6. Once you have chosen the best fingering for a passage, pencil the finger numbers above or below the notes on the page, also marking where redistribution of the inner part occurs.<br />
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7. Use the same fingering patterns for similar passages to facilitate muscle memory.<br />
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8. Always use the same fingering when practicing a hymn or a song, to build muscle memory. Good fingering will improve the smoothness of your playing, help you learn a song more quickly, and give you confidence against slipping or playing a wrong note.<br />
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<span style="font-size: x-small;"><i>(The above information is borrowed from <a href="https://www.churchofjesuschrist.org/bc/content/shared/english/pdf/callings/music/KeyboardCourse_33620_eng.pdf?lang=eng" target="_blank">Keyboard Course</a>, pg. 133, published by The Church of Jesus Christ of Latter-day Saints, with additions and changes by Jennifer Morgan)</i></span><br />
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<b>Additional Guidelines:</b><br />
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The best approach for hymn playing is a legato touch, while preserving independence of line. This means that the released repeated notes in one voice, such as the alto voice, cannot effect the legato of changing notes in another voice, such as the soprano voice. The ability to play one part legato while playing another part detached is one of the great challenges of organ playing.<br />
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• Lift repeated notes with precise releases (give them a consistent eighth or sixteenth rest)<br />
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• Connect non-repeating notes in each voice part<br />
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• The soprano line is king, and must be protected, even if the first two rules must be broken<br />
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• A repeating bass line can be connected, judiciously, as long as strong beats are accented<br />
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• Playing the bass line with the feet frees up the hands to play just soprano, alto, and tenor lines<br />
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Become very comfortable with independent movement, where one finger sustains notes while another lifts. Remember that different horizontal lines (soprano and alto, for example) operate independently, while being played by the same hand. Since the organ has no decay, the timing of a note’s release is as important as the timing of its attack. Repeated notes are a great place to shift fingering!<br />
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<b>Legato organ fingering techniques to utilize:</b><br />
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<i>Regular, or Direct Fingering</i><br />
Placing fingers on adjoining keys, the fingers play and stretch or compress to play the notes without crossing or utilizing any other techniques—the notes fall naturally under the fingers.<br />
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<i>Redistribution of the Inner Part (combines well with Direct Fingering)</i><br />
Since the bass line is played with the pedals, the left hand only needs to play the tenor part. Many times the soprano and alto parts are difficult to finger with the right hand alone, so the left hand can grab the alto part, redistributing it to the left hand. As needed, the left hand can grab the soprano note as well, or the right hand can play the tenor note.<br />
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<i>Finger Crossing</i><br />
Finger crossing is utilized in scale exercises. Generally, a longer finger crosses over a shorter one, or a shorter finger crosses under a longer one, but exceptions can be made in different circumstances. A very common application is for ascending or descending thirds to be played by fingers 4/2, then 5/1, then 4/2, etc.<br />
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<i>Finger Glissando</i><br />
A finger glissando is when the finger or thumb slides from a black key to the adjoining white key.<br />
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<i>Finger Substitution</i><br />
In finger substitution, one finger is replaced by another during the same note so that finger is freed to play another note.<br />
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<i>Thumb Glissando</i><br />
This technique occurs from white key to white key, or white key to black key, and utilizes the thumb as if it were two fingers, one being the base of the thumb and the other the tip. While it’s a tricky technique to master, thumb glissando is an essential way to play certain passages of organ music.<br />
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Here are exercises illustrating these techniques from <a href="http://organ.byu.edu/the-new-lds-organist/" target="_blank">The New LDS Organist</a>:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibpmp3FjNDD8mbU6FLXnP174mYMMc5Y2tF0bjYAPwKRxrOB7v4lFAPjgkGi67TknElHeANTItRal4DexspMZdgYKZ1HQsjhuPvavahisT58YfV4JCb_b8HcMJfK9KFlBFyAJPHD69YBhg/s1600/legato+fingering+exercises.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1170" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibpmp3FjNDD8mbU6FLXnP174mYMMc5Y2tF0bjYAPwKRxrOB7v4lFAPjgkGi67TknElHeANTItRal4DexspMZdgYKZ1HQsjhuPvavahisT58YfV4JCb_b8HcMJfK9KFlBFyAJPHD69YBhg/s400/legato+fingering+exercises.jpg" width="291" /></a></div>
<br />
<br />
In the class I handed out paper keyboards and had those in attendance come up with some fingerings. Here are a few examples of effective hymn fingerings that I shared with the class:<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6VtVnJQcD6cXC3v9zlDee0M4k0PY9c-Rc0E_9fzA5gYYpTGp-JhatTxz9RbBlZQpZxd3TK1Ead9Y1Qy6htbVCK9Tufb3cJIVkani_tD4x73PE4CLtHmEii6UV5rQ9O5eA8ntQSTVK2Q0/s1600/ManualFingeredHymns.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6VtVnJQcD6cXC3v9zlDee0M4k0PY9c-Rc0E_9fzA5gYYpTGp-JhatTxz9RbBlZQpZxd3TK1Ead9Y1Qy6htbVCK9Tufb3cJIVkani_tD4x73PE4CLtHmEii6UV5rQ9O5eA8ntQSTVK2Q0/s400/ManualFingeredHymns.jpg" width="308" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_8NPOT6g4oRfP4IbEoO0dheCP7ls8_6miuHgcp07k_gBMWSlxAgyh-rDBcv5fanJQk2Aaj3BcxMPxZbQ0N7le8rZJ3C82brXXaONDFAROs1KG66WDWuqZIEX076WzsTMn35CKb_v2ReU/s1600/Redeemer+Lives+Fingered.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_8NPOT6g4oRfP4IbEoO0dheCP7ls8_6miuHgcp07k_gBMWSlxAgyh-rDBcv5fanJQk2Aaj3BcxMPxZbQ0N7le8rZJ3C82brXXaONDFAROs1KG66WDWuqZIEX076WzsTMn35CKb_v2ReU/s400/Redeemer+Lives+Fingered.jpg" width="308" /></a></div>
<b>In Conclusion</b><br />
<br />
By placing the fifth finger of your right hand on the highest note in the passage, and the fifth finger of your left hand on the lowest, then redistributing the inner part as necessary and writing in the fingerings, you can make playing many of the hymns so much easier! It's amazing how much simpler the hymns become when your hands aren't trying to move all over the keyboard. Of course, learning to play the bass line in the pedals simplifies what your hands need to play.<br />
<br />
I recommend playing through several hymns, then choosing one to work out fingerings according to these guidelines. See how this process works for you.<br />
<br />
Thanks for reading!<br />
<br />
<br /><div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-241108618966989287.post-74110144899142140502018-11-09T10:26:00.001-08:002018-11-09T10:28:36.231-08:00In memorium: Dr. Parley L. Belnap<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAq3749iAcXeV23yG-BxWsOTgGQojWPK67iV9-2khafNTuZ9iclX2D9X3spPqggqPtsirzmW6vwvvQ95_HLO6Awx8_lIlZ7ATNNs9nNUU0p-cFM4bbqVLnKEiG8GGDSFmXKYR3cjNbHJM/s1600/Parley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="447" data-original-width="620" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAq3749iAcXeV23yG-BxWsOTgGQojWPK67iV9-2khafNTuZ9iclX2D9X3spPqggqPtsirzmW6vwvvQ95_HLO6Awx8_lIlZ7ATNNs9nNUU0p-cFM4bbqVLnKEiG8GGDSFmXKYR3cjNbHJM/s320/Parley.jpg" width="320" /></a></div>
<br />
I regret to announce that Dr. Parley L. Belnap passed away Wednesday afternoon, Nov. 7, 2018, in the company of his family.<br />
<br />
Dr. Belnap studied with many notable organists, including Marcel <span class="highlight selected">Dupr</span>é and Flor <span class="highlight">Pee</span>ters, and taught <i>many</i> notable organists including tabernacle organists Clay Christiansen, Linda Margetts, and Andrew Unsworth, as well as Ryan T. Murphy, the associate music director of the Tabernacle Choir at Temple Square. Michael Ohman, another notable organist and former student <a href="https://gallery.mailchimp.com/6667b26e635670cbc6d0b5146/files/850dee8b-da62-425d-8d5c-d41454447f01/Parley_Belnap_Interview_16_November_2008.pdf?utm_source=Utah+Valley+Chapter%2C+American+Guild+of+Organists&utm_campaign=90c3fc0207-EMAIL_CAMPAIGN_2018_09_01_05_37_COPY_01&utm_medium=email&utm_term=0_722464a204-90c3fc0207-52854927" target="_blank">shared an interview he had with Parley</a>, which is a wonderful life history that I recommend reading.<br />
<br />
In the words of Dr. Don Cook, "The BYU Organ Program is now enjoying the benefits of Dr. Belnap’s vision. For example, the group organ program with its organ lab and the Independent Study organ courses were his brain children. The wonderfully varied practice organs were designed and installed under his leadership. His <i><a href="https://creativeworks.byu.edu/catalog/ViewItem.aspx?item=SM004" target="_blank">Hymn Studies for Organists</a></i> is still an excellent resource for hymn playing."<br />
<br />
The <a href="http://uvago.org/" target="_blank">Utah Valley Chapter of the American Guild of Organists</a> is presenting a recital in his honor this Saturday, November 10, at 6:00 p.m. in the American Fork East Stake Center, 825 East 500 North, American Fork, UT. As part of this event, tributes from Dr. Belnap's former students have been gathered and will be shared. These tributes will also be made available on the UVAGO website in the near future.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigQIOr0hOve_xWDBHg3B56zsGcGcSYQFREx-tcKz2X1iQBd8C9UWGo5LBxPQbp7TZnrKisivWlrEUSOI2Iti2_WjWcLUtnBxByEd8x9cfw2uKEzDMJp1h64tFlIAhtd9S7IXQTnaZfYBE/s1600/parleybelnap1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="687" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigQIOr0hOve_xWDBHg3B56zsGcGcSYQFREx-tcKz2X1iQBd8C9UWGo5LBxPQbp7TZnrKisivWlrEUSOI2Iti2_WjWcLUtnBxByEd8x9cfw2uKEzDMJp1h64tFlIAhtd9S7IXQTnaZfYBE/s320/parleybelnap1.jpg" width="320" /></a></div>
<blockquote class="tr_bq">
"I felt I wanted to bring scholarship, spirituality, expertise and excellence to BYU because it’s such a wonderful place. I wanted to share with good students what I’d learned from all my experiences...It’s an honor to serve in this great church, to train the talented people whom I’ve been privileged to train....I have a firm testimony of the restoration of the gospel, that God lives, and that Jesus is the Christ. I’m thankful for my wonderful years at BYU, and the wonderful students and faculty associates. I have much to thank the Lord for." -- Dr. Parley Belnap</blockquote>
<br /><div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-241108618966989287.post-25021324705037218852018-10-26T11:48:00.001-07:002022-03-10T10:29:17.584-08:00White Organ Shoes for Men<p><b>Update</b></p><p>Please note: Unfortunately, TicTacToes has gone out of business.<br /></p><p></p><p><b>Original Article Follows</b><br /><br />Max Walker, the sub-dean of the Salt Lake Chapter of the American Guild of Organists has shared information on how to obtain white organ shoes for men. I wanted to pass this information on to you, as I know many men end up playing in their stocking feet because they're unable to find white organ shoes. <br />
<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH8c5ohyphenhyphenKKFL4Kbp-INVuZx53yz7-6YrlHLezYZYPqdHBoWGHBmzawfba7HGGyTEkEqoYO21OeTmwK59LmTYj4gsHhKYa6oz-G6QHIdbXfJ6428fBrzyukTe47LMZn-NHPlnz3612Zk-w/s1600/IMG_2101_sockfeetonpedals.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1012" data-original-width="1600" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH8c5ohyphenhyphenKKFL4Kbp-INVuZx53yz7-6YrlHLezYZYPqdHBoWGHBmzawfba7HGGyTEkEqoYO21OeTmwK59LmTYj4gsHhKYa6oz-G6QHIdbXfJ6428fBrzyukTe47LMZn-NHPlnz3612Zk-w/s320/IMG_2101_sockfeetonpedals.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i>Photo composite by Jennifer Morgan</i></span></td></tr>
</tbody></table>
Hi folks. This is for those gentlemen who may be playing chapel organ in
LDS temples and wish to have white organ shoes. The same info can be applied to
any color organ shoe. Many, many colors are available as noted
below. Similar options exist for the women's style shoes, in case you
ladies are having trouble finding white (colored) shoes.<br />
<br />
Organmasters, the go-to source for many organists, doesn't sell the men's Oxford shoe in white and doesn't make it to order.<br />
<div>
<br /></div>
<div>
My new friend, Bill Hesterman, pointed me to <a href="http://tictactoes.com/"><b>TicTacToes.com</b></a>.
They sell dance shoes, and have a category of organ shoes. They are the
factory, so they will make a shoe in white even if it is not offered on
the web site in white; one simply needs to call to ask for what one
needs. </div>
<div>
<br /></div>
<div>
There are two shoes at TicTacToes that would be attractive you gentlemen in that case: </div>
<div>
<ol>
<li>"Applause."
The <a href="https://www.tictactoes.com/cgi-bin/shopper.cgi?preadd=action&key=914" target="_blank">Applause</a> is like Organmaster's Oxford. It is listed only in black on the
web site, but can be made in white (or any of the many colors they
offer). Note that the heel will be black regardless. If one finds that
unsuitable, but wants that style, one can paint that heel or have the
cobbler do it. The toe is slightly more pointed than the Oxford, but not
unnaturally so. It's just a nice looking shoe. The heel is the same as
the Organmaster Oxford: 1.25".</li>
<li>"Cameron." The <a href="http://www.tictactoes.com/dance/special_organist.htm" target="_blank">Cameron</a> is listed
under Specialty Organ Shoes. Its heel is made to match, wrapped in the
same color leather. This shoe has no shank. Its advantage is the white
heel. It looks normal enough viewed straight on. I have a pair on order,
but haven't received it yet, so I cannot comment yet on the shankless
fit. The Cameron comes with a taller heel than the Applause: a 1.75"
"Latin" heel. It can be ordered with a 1.25" heel if you prefer that;
simply specify upon ordering. </li>
</ol>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4yk02cX2Hb2WI1iaLSnmeuAN5XGB8DS-lKrdJQm1TzgqSUM8wxzt_7bQDXsjMmZ5flPQR8FFX5IT8PDRlsrRmMMkgNmOPMXzHT9QIFIYyxJ_j9igBfYgTlG8VRi9I5Z_Ro8WowSwGUcw/s1600/White+Applause+Shoe.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="131" data-original-width="178" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4yk02cX2Hb2WI1iaLSnmeuAN5XGB8DS-lKrdJQm1TzgqSUM8wxzt_7bQDXsjMmZ5flPQR8FFX5IT8PDRlsrRmMMkgNmOPMXzHT9QIFIYyxJ_j9igBfYgTlG8VRi9I5Z_Ro8WowSwGUcw/s200/White+Applause+Shoe.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i>Artist's rendering by Jennifer Morgan of white "Applause" organ shoe</i></span></td></tr>
</tbody></table>
<br />
A couple more things to note: </div>
<div>
<ul>
<li>TicTacToes'
shoes run true to US sizing. If you're accustomed to Organmaster shoes,
do not trust that sizing will match; it will not. Organmasters run
short to size, and are more snug.</li>
<li>The white shoe is made to
order and cannot be returned. If you are skittish about sizing, TicTacToes
suggests that you order the shoe in black, which is returnable, confirm
sizing, then return the black and order the confirmed size in white.
Obviously, you will confirm all of that when you order and won't rely on
my account of their policies. </li>
<li>Pay attention to heel length. These vary. You can specify what you are accustomed to.</li>
<li>Finally,
these are not kept in stock and are usually made to order. Plan on
extra time to receive your shoes; they suggest 4-6 weeks, but my first
pair came at about 3 weeks.</li>
</ul>
<div>
</div>
</div>
<div>
Happy Organing! </div>
<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-241108618966989287.post-56834682535974814412018-06-29T09:16:00.000-07:002018-06-29T10:11:37.759-07:002018 BYU Organ Workshop<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRZALJVcz2jgTX7ZwvTt64xZi8IS6xgaL7TVjx2bplUV6HVxIWg3HYzU4EmIleUKaU_iwTAyxUzcO9wYwTedH7qU54JURhvSJ_usOE9qcXmCD3HwqZorB9r8HCddM34zMW0x7tp6VDFF4/s1600/2018_organ_workshop_pc_web_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="870" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRZALJVcz2jgTX7ZwvTt64xZi8IS6xgaL7TVjx2bplUV6HVxIWg3HYzU4EmIleUKaU_iwTAyxUzcO9wYwTedH7qU54JURhvSJ_usOE9qcXmCD3HwqZorB9r8HCddM34zMW0x7tp6VDFF4/s640/2018_organ_workshop_pc_web_0.jpg" width="347" /></a></div>
<br />
It's that time again! I've spoken many times on this wonderful workshop. If there's any way you can go, I highly recommend attending. It's a life-changing experience! Visit <a href="https://organworkshop.byu.edu/">https://organworkshop.byu.edu/</a> for more information.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivHCv5H_8BvWXz4PrUqW8sehFL1P3MO2f-VKHQFImnmdgQTEWxz-S8u7nadfyGRxM_DFYEim_yUyP7L1PMyzJ19edAkGCnMVbU_cu0WhcKFq_KAuXx0iNeqbAxPiAq14dXQ_LQY1-jAas/s1600/2018_organ_workshop_pc_web_0-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="874" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivHCv5H_8BvWXz4PrUqW8sehFL1P3MO2f-VKHQFImnmdgQTEWxz-S8u7nadfyGRxM_DFYEim_yUyP7L1PMyzJ19edAkGCnMVbU_cu0WhcKFq_KAuXx0iNeqbAxPiAq14dXQ_LQY1-jAas/s640/2018_organ_workshop_pc_web_0-2.jpg" width="347" /></a></div>
<br />
<br />
<br /><div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-241108618966989287.post-27755338649108102012018-06-28T07:54:00.004-07:002018-06-28T10:27:27.996-07:00New Hymnal Announced. Can we get one marked for the organ?I'm sure most, if not all, of my readers are aware that The Church of Jesus Christ of Latter-day Saints has announced that they will be producing a new hymnal and children's songbook. I linked to the article on <a href="https://www.facebook.com/LDSOrganist/" target="_blank">my facebook page</a>.<br />
<br />
The church has asked for input via a <a href="https://lds.qualtrics.com/jfe/form/SV_2m20pSAlCEcevVb" target="_blank">survey link</a>.<br />
<br />
Many of you are aware that Carol Dean created a trial version of the hymnal, meticulously marked for organ, that she worked on perfecting and tweaking until she passed away earlier this month. I have been tasked with furthering her work. With this announcement, can you think how wonderful it would be if the Church would publish an organ version of the hymnal? I can't believe how many members of the church contact me every week requesting Carol's markings, and most of you found out about it through word of mouth! There appears to be a huge need for a hymnal of this type.<br />
<br />
I think a hymnal marked for organ, and a simplified hymnal for organists would be a very much needed addition to the church's publications.<br />
<br />
<b>If you agree please fill out the above survey and either under the "general difficulties experienced" or "other feedback" fields, state how difficult it is as a pianist to play the organ without markings, or request a hymnal with organ markings.</b><br />
<br />
If enough survey takers request a version of the hymnal with organ markings, the church might make one available!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOlN_GcZvWXpNojVxz9Efw7AWKXeLfQcOhyKCxTmIKu5_dkJ0tHPjomv5YsPDIelCwzcryJEeHX2_3UqXh4jahrUW4C7Afqa3DfPgF0rSkJByNzoFDtYfXs1A0WZNTEAr8Dv6Khx5UFxY/s1600/IMG_2354_.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="639" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOlN_GcZvWXpNojVxz9Efw7AWKXeLfQcOhyKCxTmIKu5_dkJ0tHPjomv5YsPDIelCwzcryJEeHX2_3UqXh4jahrUW4C7Afqa3DfPgF0rSkJByNzoFDtYfXs1A0WZNTEAr8Dv6Khx5UFxY/s320/IMG_2354_.JPG" width="320" /></a></div><br />
<br />
<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk3dqgQlH_4vUGrUy1FIWntU0oUJCRSpSVgw36IKbKG8Hrji6bzhaqP9qJH62UvIHYmPsu4ZtQr3QAr-UifqzGvOGB4OwOPehdkLPh2Fs6VMEIYDMhC-sKKUk5u0pn0M3otcbDcLVDqGI/s1600/Jennifer+and+Carol.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="381" data-original-width="297" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk3dqgQlH_4vUGrUy1FIWntU0oUJCRSpSVgw36IKbKG8Hrji6bzhaqP9qJH62UvIHYmPsu4ZtQr3QAr-UifqzGvOGB4OwOPehdkLPh2Fs6VMEIYDMhC-sKKUk5u0pn0M3otcbDcLVDqGI/s320/Jennifer+and+Carol.jpg" width="249" /></a></div>
<br />
<br />
<br />
Dear Readers,<br />
<br />
<a href="http://organlessons.blogspot.com/2018/01/being-one.html" target="_blank">Carol Dean</a> passed from this life into the next this morning. In 2013 <a href="http://organlessons.blogspot.com/2013/05/music-in-heaven.html" target="_blank">Carol said</a>, "I know there are pipe organs in heaven, because I wouldn't be happy there if there weren't."<br />
<br />
Play on, dear friend!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGCjfO0ugv0wrIvXN1RhFTKps3bCEOLIDtCgbLPiQ0s5qHXz7LeLPs4wmyevUCEbV2PTYWUy7BnvapFfRsbrd8dlLc73MVCOVHdst8IIVfRlpzD39CRmEM5qIbGBGHoW4blqzzKQUDdcI/s1600/Hands.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="840" data-original-width="1078" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGCjfO0ugv0wrIvXN1RhFTKps3bCEOLIDtCgbLPiQ0s5qHXz7LeLPs4wmyevUCEbV2PTYWUy7BnvapFfRsbrd8dlLc73MVCOVHdst8IIVfRlpzD39CRmEM5qIbGBGHoW4blqzzKQUDdcI/s320/Hands.jpg" width="320" /></a></div>
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Funeral services will be held this Friday, June 8th at the Pioneer 2nd Ward Chapel, 1220 W. 450 N. Provo, UT, with the viewing at 9:30 a.m. and Funeral Service at 11:00.<br />
<br />
If you'd like to share your memories of Carol here, I will pass them on to her family.<br />
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<br />
Edited to add the obituary: <br />
<br />
<h2 class="no-banner">
Obituary for Carol Deanne Peine Dean</h2>
Carol
Deanne Peine Dean, 70, of Provo, Utah, passed away from ovarian cancer
June 5. Born November 4, 1947, in Durango, LaPlata County, Colorado, she
was the daughter of M. Milton Peine and Mildred Dean Peine. Growing up
in a farm town with five brothers Carol learned how to work hard. Carol
loved riding horses and even just being around them. <br /><br />Carol
attended schools in Redmesa, CO, Durango, CO, and Brigham Young
University, Provo, UT. At BYU in 1970, she earned a Bachelor of Science
degree as an Executive Assistant major in the Business Department. In
1998, she received a Master of Music degree in Organ Performance and
Pedagogy. Carol taught organ workshops and group and private organ
lessons in Utah Valley for thirty years. Carol was a lifelong devoted
member of The Church of Jesus Christ of Latter-day Saints. She fulfilled
many callings in the church her favorite being the organist for the
Pioneer 2nd ward. Carol was a very talented organist. She played for
numerous recitals and musical events for many years. Carol had a very
special place in her heart for her organ students and peers. <br /><br />Carol
married Dana D. Dean on November 21, 1970, in the Manti LDS Temple in
Manti, UT. They had many adventures together traveling for Dana’s
career. They were blessed with eight children. Carol is preceded in
death by her sweetheart, Dana; her oldest daughter, Randilyn “Randi”;
and two brothers Dean Peine of Weiser, ID and Robert Peine of Pleasant
Grove, UT. Carol is survived by her son Dallin (Robyn) of Sandy, UT; son
Rhett (Lisa) of Lehi, UT; daughter Danae’ of Snoqualmie, WA; son Robert
of Draper, UT; daughter McKenna of Provo, UT; daughter Menolli (Brian)
Quick of Saratoga Springs, UT; son Jonathon (Taylor) of Las Vegas, NV;
and her Indian-placement daughter Tina (Cornell) Benally of Mesa, AZ.
She is also survived by her 19 grandchildren.<br /><br />Carol’s surviving
siblings are Russell (Connie) Peine of Leeds, UT; Craig Peine of
Prairieville, LA; and Kirk (Sharon) Peine, of Redmesa, CO. and her two
sisters-in law, (Marlene Peine) of Weiser, ID and (Melanie Peine) of
Pleasant Grove.<br /><br />Funeral services will be held at 11:00 a.m.,
Friday, June 8, 2018 at the Provo Central Stake Center, 450 North 1220
West, Provo, Utah. Friends may call from 9:30-10:45 a.m. prior to
services. Interment, Provo City Cemetery.<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-241108618966989287.post-51015764252492634622018-04-30T11:26:00.001-07:002018-04-30T11:32:18.650-07:00Anxiety and Nerves<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD4aWWS3O8_ofm5H24c-IQw6O0sYKjujfrGxTpGb5r9lQHntmcLctBD7j5obzGehd0m1KRx42tI1enDKtp1oZsEkHNkkf2G0pNZpHItfqV0HkkQrAJojmCpRkC6OTvoAjPLp6sBKjJ4oQ/s1600/nervous.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD4aWWS3O8_ofm5H24c-IQw6O0sYKjujfrGxTpGb5r9lQHntmcLctBD7j5obzGehd0m1KRx42tI1enDKtp1oZsEkHNkkf2G0pNZpHItfqV0HkkQrAJojmCpRkC6OTvoAjPLp6sBKjJ4oQ/s320/nervous.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><a href="http://www.amenclinics.com/" target="_blank">Image Source</a></span> </div>
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<br />
I recently received a question from S.D.:<br />
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<blockquote class="tr_bq">
<div>
I just finished playing for my 3rd Stake Conference this weekend. I had practiced everyday for over three months. I knew the songs well and felt much more confident in my pedaling. </div>
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<br /></div>
<div>
I was pretty calm <span class="aBn" data-term="goog_1316615508" tabindex="0"><span class="aQJ">on Saturday</span></span> Night's meeting but on Sunday, I felt more anxiety at the amount of people and of course hands and legs stiffen with anxiety and I really had to concentrate to keep things going. I was able to cover okay, yet I was so disappointed because I had prepared so well.</div>
<div>
<br /></div>
<div>
When I received the call the size of the crowd was the biggest intimidation to me. I have played the piano for years and accompanied a lot of groups, yet the organ is new, I have felt less in control of sounds and adjustments, therefore, I am nervous of making mistakes and that brings about the anxiety.</div>
<div>
<br /></div>
<div>
Have you ever experienced this or have any suggestions on how to work it out? This past two weeks I have been listening to talks on overcoming fear and having faith and done all I could think of to prepare. I know I did okay, but I was wiped out when I was finished just dealing with my stress. I hope to learn a little more on how other organists might prepare to overcome this type of fear or stress, so I can deal better with the next conference.</div>
</blockquote>
Have any of you felt this way? <a href="http://organlessons.blogspot.com/2014/02/such-time-as-this.html" target="_blank">I certainly have!</a> I'll share some ideas here on what I do to work through anxiety, but I'd love to hear from my readers as well!<br />
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<div>
What you're experiencing is very normal, unfortunately. There are several things that I've used to try to get past those nerves! Here they are, not in any particular order:</div>
<div>
<br /></div>
<ul>
<li>Recognize that your body doesn't know the difference between fear and excitement. When you start to feel those nerves kicking in, tell yourself that you're really excited to be able to play: Either because you have a really cool registration, or you can't wait for the congregation to be able to be united as one voice, etc. Try to turn that potentially scary emotion into a positive one. </li>
<br />
<li>Play in front of people more often. This is a difficult one, as in our church playing the organ is something we can't really do unless we're called. You can get involved in your local chapter of the American Guild of Organists, or see if you can be a volunteer temple organist on a regular or semi-regular basis (if your local temple has organists, and is close enough for you to serve there). Playing in the temple every other week helped me more than anything else!</li>
<br />
<li>When your brain starts playing head-games with you, shut it down by saying, "I don't care!" I learned this one from tabernacle organist Andrew Unsworth. "I don't care!" saved me when I took my CAGO exam.</li>
<br />
<li>Cut yourself some slack. <a href="http://organlessons.blogspot.com/2013/05/making-mistakes.html" target="_blank">It doesn't have to be perfect!</a> There was only one perfect person to walk the earth, and it's not you. Making mistakes is okay! Figure out what you're the most nervous about, and see what you can do to circumvent that issue. It can be simplifying your first hymn introduction by beginning with the melody in octaves, or with just the melody stepping into the other parts.</li>
<br />
<li>Shrug off mistakes. Mistakes happen, but don't let them derail you. Don't give them any room in your brain. Always look forwards, never backwards when you're playing. </li>
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<li>Worrying about your upcoming "performance" will make your anxiety grow. Now that you've learned some great coping techniques, try not to stress as the date comes nearer. I know that's hard to do! Also, don't just prepare for that one huge event, play and learn other pieces, too, and intersperse them as you practice to take some of the pressure off. </li>
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<li>Trust your preparation. I'm sure you're heard the saying, <span class="st">“When the time for decision arrives, the time for preparation is past.” Well, when the time to play the organ has arrived, your preparation is over. TRUST YOURSELF.</span> </li>
</ul>
<a href="https://www.amazon.com/Inner-Game-Music-Barry-Green/dp/0385231261/ref=sr_1_1?ie=UTF8&qid=1525112301&sr=8-1&keywords=inner+game+of+music&dpID=51wNMDGaLKL&preST=_SY291_BO1,204,203,200_QL40_&dpSrc=srch" target="_blank">The Inner Game of Music</a> is a great resource. I read it a long time ago, so I don't remember much about it, but it's definitely worth a read.<br />
<br />
So, my faithful readers: What do you do when your nerves kick up? Do you have any great suggestions to share? </div>
</div>
</div>
<br /><div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-241108618966989287.post-44648404105953948222018-03-04T11:48:00.002-08:002018-03-04T11:48:53.015-08:00Sunday Song: Organ Registration: Your Own Orchestra (1972)Okay, once again this isn't a true Sunday Song. Here's another oldie but goodie organ resource from the LDS Church. It was actually a filmstrip--do you remember those? I loved it when I was chosen to advance the frames!<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/AMZdyFnxhM0" width="459"></iframe><div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-241108618966989287.post-79583324260276103302018-02-18T10:11:00.002-08:002018-02-20T08:28:34.425-08:00Sunday Song: Organ Fundamentals Training VideoOkay, so this isn't really a Sunday Song, but it is an old training video from 1972 with Tabernacle organist Alexander Shriner providing the introduction. The information shared is still very valuable. Enjoy! <br />
<br />
<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/yTwStPUwWSQ" width="459"></iframe><div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-241108618966989287.post-69119032799168612542018-02-11T22:15:00.002-08:002018-02-11T22:21:10.601-08:00Guiding Congregations Through Unfamiliar Hymns<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrQq_lscjgFIxxZT9O3hP7aSkFp3USjXFvRC-j4i-g5vsl4-PyErz9iJMuvxr-56rOnwmOI-He2M_Gao6zrVlmsOK8BSa8aK0Vc-L3fK3r56Dc9hQSBk_R2OzMvIIdnINNs5j4pDnjL28/s1600/confused+sign.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1024" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrQq_lscjgFIxxZT9O3hP7aSkFp3USjXFvRC-j4i-g5vsl4-PyErz9iJMuvxr-56rOnwmOI-He2M_Gao6zrVlmsOK8BSa8aK0Vc-L3fK3r56Dc9hQSBk_R2OzMvIIdnINNs5j4pDnjL28/s320/confused+sign.jpg" width="320" /></a></div>
<br />
I think we've all been there, at least once. We receive the hymn list for Sunday, and at least one of them is a hymn that no one will recognize! Or perhaps there's a great hymn that you want to introduce to your congregation. How can you, as an organist, guide your congregation confidently through a hymn that they've never sung before?<br />
<br />
In the "Using the Hymnbook" section of the Hymnal, we are encouraged to sing unfamiliar hymns:<br />
<blockquote class="tr_bq">
In addition to using hymns already known and loved, members are encouraged to become acquainted with new or less familiar hymns. Try to achieve a good balance between familiar favorites and less well-known hymns.</blockquote>
Hopefully these suggestions will help you, as organist, streamline this process for your congregation.<br />
<br />
<b>First, Familiarize Yourself</b><br />
<br />
The very first thing you can do, is make that hymn your best friend. Too many times, I've been led by an organist who played the rhythms or notes incorrectly on an unfamiliar hymn, and they didn't know it. Almost every hymn in the LDS hymnal has a MIDI file associated with it <a href="https://www.lds.org/music/library/hymns?lang=eng" target="_blank">on the church's website here</a>. If you enable Adobe Flash Player, you can click the play button and hear it played, notes and rhythms perfect. Otherwise, you can click "Vocals and Music" or "Music" and get a feel for the hymn. Make sure that you get to know the hymn very well.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRLOEIXP_k7Lggtsv5xHPwzMJRagXUqK4vvU_n9RCg6_NQTd4zRy6YXAhThBw6a449TfgSV1xWCRYqD0zJYT0ZFj5P-826PrYyB6GPZBZyKgwNaV2yQQrd1UZLgrtvM_wG7uHxdvITHhg/s1600/Hymn+Player+11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="635" data-original-width="952" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRLOEIXP_k7Lggtsv5xHPwzMJRagXUqK4vvU_n9RCg6_NQTd4zRy6YXAhThBw6a449TfgSV1xWCRYqD0zJYT0ZFj5P-826PrYyB6GPZBZyKgwNaV2yQQrd1UZLgrtvM_wG7uHxdvITHhg/s320/Hymn+Player+11.jpg" width="320" /></a></div>
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<b>Second, Practice, Practice, Practice</b><br />
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Once you know how the hymn should sound, practice it until you can play it with complete confidence. The less confident your congregation is, the more confident you need to be. If you make a mistake while playing a well-known and well-loved hymn, such as Joy to the World or Come, Come Ye Saints, your congregation will most likely continue singing with zeal, but if you make a mistake on an unfamiliar hymn, your congregation will not feel comfortable singing out, and many members might stop singing altogether.<br />
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<b>Third, Choose an Appropriate Tempo</b><br />
<br />
Read through the hymn. How complicated is the hymn text to read and understand? Does the melody or harmony jump around? Are the notes mainly quarter notes, or are there a number of eighth notes, dotted eighth-sixteenth combinations, or triplets? What is the suggested tempo range?<br />
<br />
While it's important to prevent the hymns from dragging, unfamiliar hymns should probably be played at the lower end of the range. Remember that our goal as church musicians is for the hymns to "invite the Spirit of the Lord, create a feeling of reverence, unify us as members, and provide a way for us to offer praises to the Lord," as we read in the First Presidency Preface to the Hymnal. The tempo can either help achieve these goals, or work against them.<br />
<br />
A hymn such as <a href="https://www.lds.org/music/library/hymns/truth-eternal?lang=eng" target="_blank">#4, Truth Eternal</a>, is fairly basic, easy to follow, made up of mostly quarter notes, and could probably be played around 92 without leaving the congregation behind, provided the organist is properly prepared.<br />
<br />
However, a hymn like <a href="https://www.lds.org/music/library/hymns/what-was-witnessed-in-the-heavens?lang=eng" target="_blank">#11, What Was Witnessed in the Heavens?</a> is filled with triplets ornamenting sustained lyrics, and an unfamiliar text. The men carry the melody at times, there is syncopation, and the hymn text has phrases such as, "It was <b>to</b> be preached in<b> pow</b>er," with the strong beat falling on the bolded words, and "We their footsteps wish to tread." In choosing the tempo, all of these things need to be considered. The tempo needs to be slow enough that the congregation can read and understand the words, while also managing the complicated melodies and harmonies. This hymn is telling a story, and the congregation needs to be able to follow it. The first time(s) the congregation sings this hymn, the tempo should be the lower end of the range.<br />
<br />
<b>Fourth, Support with a Solid Registration</b><br />
<br />
While your registration probably doesn't need to be full organ, it does need to adequately support your congregation, so they feel they can safely sing unfamiliar words and notes. Paint the hymn text, but don't choose a registration that will cause the congregation to feel exposed.<br />
<br />
<b>Fifth, Introduce the Hymn Well</b><br />
<br />
If you know several weeks in advance that you'll be singing an unfamiliar hymn, work it into some of your later prelude pieces each Sunday prior to singing it, or use it as your first postlude piece the week before. When it's time to sing, the hymn might feel somewhat familiar to the congregation because they've heard it once or twice before. (I've attended other denominations that actually rehearse unfamiliar hymns a few minutes before the service begins.)<br />
<br />
Regardless of the length of the hymn, if it is unfamiliar to the congregation it is a very good idea to play it in its entirety as the introduction.<br />
<br />
For example, with <a href="https://www.lds.org/music/library/hymns/truth-eternal?lang=eng" target="_blank">hymn #4 Truth Eternal</a>, an effective introduction could be to play the melody of the first line in octaves, then play the second line as written.<br />
<br />
An introduction for <a href="https://www.lds.org/music/library/hymns/what-was-witnessed-in-the-heavens?lang=eng" target="_blank">hymn #11 What Was Witnessed in the Heavens?</a> could include doubling the men's melody part up an octave on lines one and two, playing just the melody of line three in octaves, before returning to SATB parts on line four.<br />
<br />
Do whatever you reasonably can to introduce the congregation to the hymn, so that they won't be afraid to sing! Your congregation needs to be able to trust you to guide them confidently through the entire hymn, and they need to know what the entire hymn sounds like before being expected to sing it.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL9Q09Lbp3wwY6JMybklBy5neDr2eY6Xu-N-Ppd_DFogygood8nAhsWDsyZUPi0jZ2AR4cCo5JZsaBo7NGaQcGVjBU_A_l6JhyKrMhuK9cRI5OSd0nxeINunRxjNsG-UeqtefmIQHFx88/s1600/Confidence+Sign.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="618" data-original-width="1000" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL9Q09Lbp3wwY6JMybklBy5neDr2eY6Xu-N-Ppd_DFogygood8nAhsWDsyZUPi0jZ2AR4cCo5JZsaBo7NGaQcGVjBU_A_l6JhyKrMhuK9cRI5OSd0nxeINunRxjNsG-UeqtefmIQHFx88/s320/Confidence+Sign.jpg" width="320" /></a></div>
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<b>Finally, Evaluate, Adjust, and Repeat</b><br />
<br />
After the meeting, evaluate how it went. Did the congregation sing out? Did they seem to lag behind the organ? Could you even hear them singing? Were any verses louder or softer than others? Why? Did anyone comment that they loved the hymn, or that they didn't like it? Ask someone you trust to give honest feedback as to how it felt to be in the congregation.<br />
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What changes do you need to make for next time? What should you continue to do? <br />
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When will the next time occur? If there is a hymn that you want to teach your congregation, it is a good idea to schedule it to be sung at least once a quarter.<br />
<br />
With the increased focus on keeping the Sabbath day holy, we introduced my congregation to <a href="https://www.lds.org/music/library/hymns/sabbath-day?lang=eng" target="_blank">hymn #148 Sabbath Day</a>, and it was a good, spiritual experience. We sang it once a month for two or three months. Over the course of the next two years we sang it on a regular basis, about once a quarter, and it soon became a familiar hymn.<br />
<br />
<b>In Conclusion</b><br />
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Have you ever wondered what hymns the 1985 Hymnbook Executive Committee wished we sang more often? I was privileged to be in attendance at a fireside and hymn sing held March 8, 2015, in the Pleasant Grove Utah East Stake Center where the 30th anniversary of the hymnal was celebrated. You can view this hymn sing on YouTube. It is wonderful to hear their personal experiences with the compilation of our green hymnal:<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/AVupQeND2uM" width="459"></iframe><br />
<br />
<br /><div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-241108618966989287.post-5056298219778931232018-02-04T08:00:00.000-08:002018-02-04T08:00:11.877-08:00Sunday Song: Beyond the SunsetWhen we think of organs, most of us think of using them in a church setting. However, around the middle of the 20th century, they were used in many different venues. I'm too young to have experienced most of it, but I have watched old episodes of Lawrence Welk where the organ was featured in a very different setting than religious worship! <br />
<br />
Here Wally Hammel plays Beyond the Sunset, a beloved funeral song, on a Lowry organ.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/VTW8EiRWjkE" width="480"></iframe><br />
<br />
<blockquote class="tr_bq">
Beyond the sunset, O blissful morning<br />
When with our Savior heaven's begun<br />
Earth's toiling ended, O glorious dawning<br />
Beyond the sunset when day is done.<br />
<br />
Beyond the sunset, no clouds will gather<br />
No storms will threaten, no fears annoy<br />
O day of gladness, O day unending<br />
Beyond the sunset eternal joy.<br />
<br />
Beyond the sunset, a hand will guide me<br />
To God the Father whom I adore<br />
His glorious presence, His words of welcome<br />
Will be my portion on that fair shore.<br />
<br />
Beyond the sunset, O glad reunion<br />
With our dear loved ones who've gone before<br />
In that fair homeland we'll know no parting<br />
Beyond the sunset forever more...</blockquote>
<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-241108618966989287.post-91467308108594384462018-02-01T11:57:00.003-08:002018-02-01T12:10:10.613-08:00Playing for Funerals<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZlFmchlVwv7cViLQOAEo1hZrNKGWi98L7SeEC_aYDEYHbRHjtUWqYRIz7eYFsP5NVgM0hTJAFIpFoCkvMgeLX824UVj4UorQKVTd69W_TbqsyvE8SviGt1wb05-hPihtcwzKVnq1ObBM/s1600/death-on-trek-82840-print.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1556" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZlFmchlVwv7cViLQOAEo1hZrNKGWi98L7SeEC_aYDEYHbRHjtUWqYRIz7eYFsP5NVgM0hTJAFIpFoCkvMgeLX824UVj4UorQKVTd69W_TbqsyvE8SviGt1wb05-hPihtcwzKVnq1ObBM/s320/death-on-trek-82840-print.jpg" width="320" /></a></div>
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Playing for your first (or second or third) funeral can feel quite overwhelming. I've heard from many organists who have asked for help in preparing for a funeral service. What music should be played? What happens when? What registration should be used for the hymns? Funeral services, especially in an LDS service, are fairly straightforward.<br />
<br />
In the Church Handbook of Instruction, we learn that the music should include "the comfort afforded by the Savior's Atonement and Resurrection." Additionally, we learn:<br />
<blockquote class="tr_bq">
Music for funerals might include prelude music, an opening hymn, special musical selections, a closing hymn, and postlude music. Simple hymns and other songs with gospel messages are most appropriate for these occasions. Opening and closing hymns are usually sung by the congregation.</blockquote>
Having played for many funerals, held both at LDS meetinghouses and mortuaries, I've found that they typically follow a similar pattern, which I'll outline below.<br />
<br />
<b>Prepare in Advance</b><br />
<br />
For a funeral you will need a flexible amount of prelude music (I once played for a funeral that started 25 minutes late), a piece to play while the casket and family are coming in to the chapel, music for the service which will include congregational hymns and possible accompaniment for musical numbers, a piece to play as the casket and family leave, and postlude music. If possible, ask the family if they have any requests. God Be With You Till We Meet Again is very popular as the casket leaves, but once I was asked to play There Is Sunshine in My Soul Today.<br />
<br />
Gather the pieces you plan to play, and come up with a basic registration plan. This will save you time once you are able to practice on the actual organ.<br />
<br />
I recommend trying to find time on the organ before the day of the
funeral if possible. If not, arrive fifteen or so minutes before the
viewing is scheduled to begin. Chances are, the church or mortuary will
be open, the chapel will be empty, and you'll have time to become familiar with the organ. Quickly
figure out your registration plan for each piece--hopefully several of the presets will provide a starting point.<br />
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<b>Prelude Music</b> <br />
<br />
Many funerals are preceded by a viewing at the location where the funeral is to be held. Because of this, quite often those attending will wait in the chapel thirty minutes or more before the service begins. Sometimes family members will be piecing together their musical number during this time as well. It's important to be flexible and make sure the family is accommodated.<br />
<br />
<br />
You can start prelude at any time, but I try to start playing once several people are in the chapel, waiting. The purpose of the prelude music is to bring comfort, and to bear testimony of the Plan of Salvation. Choose pieces, such as Abide With Me, Nearer My God To Thee, Lead Kindly Light, Each Life that Touches Ours for Good, and Children of Our Heavenly Father. Funerals for a child could also include Primary songs, such as I Am a Child of God, Families Can Be Together Forever, I Lived in Heaven, and I Need My Heavenly Father.<br />
<br />
Be flexible. The family will enter the chapel after the family prayer and the closing of the casket. They may arrive earlier or later than expected. In my personal experience, the family is usually a little late. Keep an eye out towards the doors for any sign that the family is coming, and make sure your processional piece is accessible and ready to go.<br />
<br />
<br />
<b>The Processional</b><br />
<br />
Generally, someone from the mortuary will ask the audience to please rise. This is your cue to begin the piece that you've chosen to play while the casket and family are coming in to the chapel. This piece should be easy to end or extend--have places marked where you can repeat or cadence for an ending. After the entire family has taken their seats, it will be announced for the audience to be seated, and you'll need to end the piece--take care to end on the tonic chord!<br />
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<b>Congregational Hymns</b><br />
<br />
The biggest error I've seen with congregational hymns at funerals, is lack of good foundational support from the organ. Our religious culture is one of singing! Even at a funeral service, <a href="http://organlessons.blogspot.com/2015/02/watch-that-volume-even-if-its-funeral.html" target="_blank">it is important to support the congregation with adequate volume and registration</a>, as I shared in a previous article. Some organists register with more mellow and dark registrations for funerals, but I tend to let the hymn text direct my choices. Remember--we are testifying that after death we live again. Make sure your registration choices reflect the Plan of Salvation.<br />
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<b>Special Musical Numbers</b><br />
<br />
Quite often the family will take care of these, but about half the time I'm also asked to accompany at least one special musical number, typically from the hymnal or Children's Songbook on the piano. Be prepared for this possibility. In these instances, I ask if they can meet before the viewing in the chapel for a quick run-through.<br />
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<b>The Recessional</b><br />
<br />
Following the closing prayer, I usually begin playing the piece I chose for the recessional with the expression pedals fully closed as the officiant again asks the audience to rise and the pallbearers to come forward. At that time I'll increase the volume.<br />
<br />
At President Monson's funeral, I noticed the recessional music didn't begin until after the pallbearers were called forward. Whichever you decide is up to you, but if you do start playing immediately, make sure the officiant can be heard clearly.<br />
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<b>Postlude</b><br />
<br />
Typically one or two additional postlude pieces are sufficient. Most of the members of the audience are friends of the family who will also attend the graveside service. I usually finish up the recessional piece and play one additional arrangement.<br />
<br />
<b>In Conclusion</b><br />
<br />
Once you know what to expect, playing for funerals doesn't differ too much from playing for a traditional worship service. Good preparation and flexibility is key!<br />
<br />
What are your favorite pieces and arrangements for funerals?<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-241108618966989287.post-28355603443114075552018-01-27T12:21:00.002-08:002018-01-27T12:47:02.599-08:00Being the One<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1PFvBTh70eq8WmE_7l9kf7CXdyngmg0qfXxfhVlLl1wmf8KZZ0u2RbWALsouUwHOuRuDLd_XK1Ucr_2KyylCHkzXXfij7MWUwe5UnfRWEPWlmns3WjsEuWUesm3Q4M3Xk2VtRlZvNsxE/s1600/Carol+Dean.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="150" data-original-width="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1PFvBTh70eq8WmE_7l9kf7CXdyngmg0qfXxfhVlLl1wmf8KZZ0u2RbWALsouUwHOuRuDLd_XK1Ucr_2KyylCHkzXXfij7MWUwe5UnfRWEPWlmns3WjsEuWUesm3Q4M3Xk2VtRlZvNsxE/s1600/Carol+Dean.jpg" /></a></div><br />
<b>Carol Dean</b> <br />
<br />
I've posted about Carol Dean many times. As a graduate student, she taught my Organ Essentials class--my first introduction to the organ. While I got an A in this class, I left feeling completely overwhelmed. Basically, I felt the class actually taught me that I did NOT know how to play the organ--my eyes were opened to all of the differences between the piano and the organ, and I just wanted to stick with the piano, flute and piccolo. Playing the organ was hard!<br />
<br />
By divine design, after getting married, my husband and I moved into her stake in Provo, and I was again able to study with Carol when I was called as ward organist on the beautiful Bigelow pipe organ there. As a new organist, I didn't appreciate this rare opportunity to play on such an instrument.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg92Ez2xYXfxwkaJsGMsRIsP2FHmobwyhoDKNFS1CQnVBmv03hLNACPnpel4pA-5QTBSHAKpygLgEmbK9SQKnRj0C-ocw-B3PG4ScsbS20k0GZO36rO-LTPIK_05oEs9FkedA5wZa12dpw/s1600/IMG_7374_lowres.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="614" data-original-width="400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg92Ez2xYXfxwkaJsGMsRIsP2FHmobwyhoDKNFS1CQnVBmv03hLNACPnpel4pA-5QTBSHAKpygLgEmbK9SQKnRj0C-ocw-B3PG4ScsbS20k0GZO36rO-LTPIK_05oEs9FkedA5wZa12dpw/s320/IMG_7374_lowres.jpg" width="208" /></a></div><br />
After we purchased a home and moved away, Carol was there for me, always willing to come teach me skills--many that I didn't even know I needed! Her compliments were many, and I felt like she believed in me far more than I did. She was forever encouraging me to teach others, but I felt inferior as an organist, and felt I needed to learn so much more, first.<br />
<br />
<b>Being a Mentor</b> <br />
<br />
In 2012, as a member of the nominating committee she recommended me to serve as secretary in the Utah Valley Chapter of the American Guild of Organists. I felt completely unqualified, and wasn't even a member of the AGO yet, but I accepted with great trepidation.<br />
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Joining and becoming involved in my local chapter of the AGO gave me support and training that I didn't realize I needed. Just interacting with other organists provides a sense of community. I learned so much from my interactions here.<br />
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Finally, towards the end of 2013 (16 years after Carol's first urging), I accepted my first organ student. I'm afraid I really didn't know what I was doing at the time! Patricia was my patient "guinea pig," and I appreciate all that I learned from being thrown into the position of private teacher. Since then I've maintained a small private studio, and love the opportunities I get to train others to love the organ as much as I do!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhsr6t_ITjfJnL4v4SPjW65mtM4zgj3SfemELMOfZ8nZkjeCMeMZVJa9lPQBJNhtm-HGhXpDDC2VGQFP7wqHVx1ny70j1toPVjYNNGMDoz2X31q8947ulQprVpcziBsY7bFc81OKc-wno/s1600/IMG_6896.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhsr6t_ITjfJnL4v4SPjW65mtM4zgj3SfemELMOfZ8nZkjeCMeMZVJa9lPQBJNhtm-HGhXpDDC2VGQFP7wqHVx1ny70j1toPVjYNNGMDoz2X31q8947ulQprVpcziBsY7bFc81OKc-wno/s320/IMG_6896.JPG" width="320" /></a></div><br />
In May of 2017 I took my <a href="https://www.agohq.org/ago-colleague-certification/" target="_blank">Colleague exam</a> through the Salt Lake Chapter of the American Guild of Organists on a three manual Rodgers/Casavant hybrid. Despite all of my preparation and learning, I still felt inadequate. After learning in June that I passed, I immediately sent Carol this message:<br />
<blockquote class="tr_bq"><div dir="ltr" id="yiv7756202435yui_3_16_0_1_1497418581347_14181">I owe my start on the organ to you. As my very first teacher, you got me started with a solid foundation on the organ. Your nomination of me as secretary in the Utah Valley chapter got me involved in the AGO for the first time. Thank you so much for your faith in me, and for pushing me when I felt I wasn't good enough. Without you, I never would have become an organist, let alone a Colleague in the AGO.</div><div dir="ltr" id="yiv7756202435yui_3_16_0_1_1497418581347_14190"><br />
</div><div dir="ltr" id="yiv7756202435yui_3_16_0_1_1497418581347_14205">Thank you, from the bottom of my heart.</div></blockquote><br />
<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJwjoW-eXEThIAFuPQxrdXCs5ddr6iGuS5t23pycxSb5le-SUQ4k3kpFMOzI-4o_VCeb_7DgYWvZzX9llMpGOGUv_3TIp1YCdWzHw31rG0UaV-b694lE8kPdWQcPW_PVc1YoYLvqsx5A8/s1600/CAGO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="279" data-original-width="1600" height="68" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJwjoW-eXEThIAFuPQxrdXCs5ddr6iGuS5t23pycxSb5le-SUQ4k3kpFMOzI-4o_VCeb_7DgYWvZzX9llMpGOGUv_3TIp1YCdWzHw31rG0UaV-b694lE8kPdWQcPW_PVc1YoYLvqsx5A8/s400/CAGO.jpg" width="400" /></a></div><br />
Now, Carol isn't the only teacher I've had on the organ. I've learned so much from Don Cook and Bonnie Goodliffe, as well as from instructors in many trainings, workshops, and conventions I've attended. However, I consider Carol to be my mentor. Just recently I shared with her:<br />
<blockquote class="tr_bq">The other day I was pondering on where I am today as an organist, and it really is because of you. You believed in me, and thought highly of me--even more than I did of myself. You encouraged me to serve as secretary in our AGO chapter, even though I really hadn't been an active member. You asked me to help in the organ lab at Super Saturday and take my first organ student (even through I really didn't know what I was doing at the time). You made all the difference in my life! The organ is vital to my emotional health, and you made it all possible. When I told you that it was because of you that I earned my CAGO, it really was true. Yes, I put in a lot of hard work, but you got me started on the path, and you encouraged me to stretch higher and further than I thought I could.</blockquote><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHKBmB5kt4nwnmSEYOQbfGOmgmK8X86vWLEqxMh-I4sqguJErj7NujVfl12Fbt_Tygk2YZl4ChNsBRVU6JpdIcft-t0A_p24fA9uIYYpLgGZyHmhW3pRwrrrxNsS2MRs62BK3l5BkrRwk/s1600/class-carol-e1335309108285.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="322" data-original-width="621" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHKBmB5kt4nwnmSEYOQbfGOmgmK8X86vWLEqxMh-I4sqguJErj7NujVfl12Fbt_Tygk2YZl4ChNsBRVU6JpdIcft-t0A_p24fA9uIYYpLgGZyHmhW3pRwrrrxNsS2MRs62BK3l5BkrRwk/s320/class-carol-e1335309108285.jpg" width="320" /></a></div><br />
<br />
<b>Building Each Other Up</b> <br />
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Why am I sharing all of this with my readers? How does this story affect you?<br />
<br />
In a social-media-fueled world that's increasingly becoming less tolerant of anything other than perceived perfection in all areas, it is so important for us to recognize the good in others. We all struggle with feelings of inadequacy. We know we aren't perfect, and all too often we fall into the trap of thinking we aren't good enough.<br />
<br />
Carol Dean believed in me. While demanding perfection, she was always quick to think the best of me and my efforts, even when I "knew better." We need people who believe in us, especially when we struggle to believe in ourselves.<br />
<br />
I didn't believe in myself. In fact, less than two weeks before I took my CAGO exam, despite all of my practicing, and despite all of my progress, this is how I felt:<br />
<blockquote class="tr_bq">Have you ever decided to do something that is so far not just out of your comfort zone, but above your ability? Something that makes you stretch further than you think you can? Then life happens and prevents you from working on your goal for an extended period of time, but you're up against a hard deadline? My deadline hits Friday, May 12th, and I'm feeling defeated...</blockquote>But here's the thing: I was good enough! <i>All along, I was good enough.</i> And I didn't believe in myself. <br />
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Let's do as Carol has always done: strive to build each other up. Let us each express confidence in each other. You CAN do this! You ARE capable.<br />
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Believe in others, and believe in yourself.<br />
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Be the one person that others can rely on for support. Be the one person that believes in yourself.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI0e7LGQVzWKiICafTn6wz7uD0eJPnLSHiyk8f1rNyafO7577XxZS4QcqRoHBZj8E83jF3WPWEE6W_yxraFfp2EmQbTq81RDRIfkhxBpDEix08FsggiluA5BNVM-aqA5YLqbExO1MWL3A/s1600/20170925_113001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI0e7LGQVzWKiICafTn6wz7uD0eJPnLSHiyk8f1rNyafO7577XxZS4QcqRoHBZj8E83jF3WPWEE6W_yxraFfp2EmQbTq81RDRIfkhxBpDEix08FsggiluA5BNVM-aqA5YLqbExO1MWL3A/s320/20170925_113001.jpg" width="320" /></a></div><div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-241108618966989287.post-86037629609598488192018-01-25T23:30:00.000-08:002018-02-01T12:22:35.266-08:00New Full-Time Tabernacle Organist Appointed<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGPKgcjMM1HrpkrmX6x1zISnIEWKBjC3j_foqATtlUjVgxXGqzRWYs0vSa0KMDKOkhkFBSGTexxDIw57PSwuXzSGfkji-zlG2iFJG3KgiD3lFYYjtywG1lYZLaz7vJkpul8AJEtNGgDXY/s1600/Brian-Mathias-Motab-2018.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1280" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGPKgcjMM1HrpkrmX6x1zISnIEWKBjC3j_foqATtlUjVgxXGqzRWYs0vSa0KMDKOkhkFBSGTexxDIw57PSwuXzSGfkji-zlG2iFJG3KgiD3lFYYjtywG1lYZLaz7vJkpul8AJEtNGgDXY/s320/Brian-Mathias-Motab-2018.jpg" width="256" /></a></div>
<br />
Dr. Brian Mathias has been appointed a Tabernacle organist, as Clay Christiansen is retiring this year. Dr. Mathias has been serving as an adjunct faculty member at BYU in the organ department. For more information, <a href="https://www.mormontabernaclechoir.org/content/dam/motab/newsroom/press-release/Mathias-New%20Tabernacle%20Organist%20Appointed%20FINAL%20(004).pdf" target="_blank">visit the Mormon Tabernacle Choir website</a>.<br />
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Listen to his performance during the first round of the 2014 Canadian International Organ Competition:<br />
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<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-241108618966989287.post-38582934020571500582017-07-06T08:38:00.000-07:002018-01-25T23:04:48.278-08:00FIXED!!! Photobucket Issues--My Apology<b>January 25, 2018 update: </b><i> I spent the day downloading and re-uploading all of my images. I think we're finally good to go again! Please let me know if you see any that I missed. Thank you for your patience! </i><br />
<br />
I'm sure you can see that the images on my blog are mostly no longer there! For years I've used Photobucket to host my pictures, but now they want to charge for what used to be a free service.<br />
<br />
I've been meaning to revamp my blog, and perhaps turn it into a website, and now I'm going to have to make a decision one way or another on this issue. My biggest concern is cost--I provide this information as a free service, and really don't want to turn it into a business of any kind. That said, I do need to keep my expenses low. If you have suggestions, I'd love to hear them.<br />
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I'm so sorry that the images are not showing up! I spent many hours taking and editing the perfect pictures for each post, and it's disheartening to have them look the way they do right now!<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-241108618966989287.post-89415021061827283252016-09-26T10:35:00.002-07:002018-01-25T20:18:34.699-08:00Let the People Sing!<div class="separator" style="clear: both; text-align: center;"><a href="https://www.wordsoftruth.net/files/singingpewpeoplesining3-3-3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYyGK5O74o9XkzSW1uJmuEsglOBzGgOpJqQ9-vfuCb2g3vGhCvu9dCEUDdh6jcS9IrwN3hIFzmE6AbO2PHxVou_QQ7oZ84DZdu1TP79pff50cNg_W-577DunSGHyKdekAGXoa2QkOp_fA/s320/singingpewpeoplesining3-3-3.png" width="320" /></a></div><br />
A couple of years ago, while researching how to encourage congregational singing, I came across an article with the title, "Let the People Sing!" and that phrase has stuck with me. It seems many varied denominations and congregations struggle with congregational singing. My congregation struggled with singing as well when I was asked to be our regular organist two years ago. Now, they will even sing unfamiliar hymns with volume and expression.<br />
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How did we get to this point?<br />
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First, as soon as I was asked to play the organ I did my research. I read everything I could find about encouraging congregational singing. I studied every resource at my disposal, and drew upon all of the training I could ever remember receiving. Then I came up with my personal philosophy, for my individual situation, most of which I believe can be applied to all congregations with an organ-led worship service.<br />
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<b><span style="font-size: large;">1. Music needs to be more present.</span></b><br />
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What does this mean? This phrase was always at the forefront of my mind, and I worked to understand what it means for music to "be more present."<br />
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First, I decided that it meant that I needed to be more deliberate with all of the music I provided, from prelude and postlude to the length and quality of the introductions, the volume of the organ, and the registrations and registration changes. It also meant having the congregation sing the "extra" verses at the ends of the hymns, and not routinely cutting hymns or verses, citing lack of time. In my congregation, music needed to be present and treated as important.<br />
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This first step in this process was to embrace the attitude that music is <u>vital</u> to the congregation's worship, and we should make no apologies for it; whether music is found in introductions that may be longer than normal, or for an organ prelude that continues to a resolution, even if the bishopric or clergy member has already risen to begin the meeting. (Please note that is very important to time your prelude to end at the agreed upon meeting start time, and to resolve the piece in a timely manner, even if you haven't reached the actual conclusion of the piece.)<br />
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The second step is to <a href="http://organlessons.blogspot.com/2010/02/confidence-and-preparation.html" target="_blank">prepare, prepare, and prepare</a>! Do everything in your power to make the musical aspect of your worship service effective and powerful.<br />
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The final step is to evaluate, make any needed changes through prayer and reflection, and try again. Work towards a slow yet steady improvement over time.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://www.centralcocnsb.com/singing-church-diverse1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU5to46LX8tdrui-3Os7p9pd4jSBOxRCyEoVkvcf3eK8lKSvhY2QlBx97RE7cFKlHhXES1IUScdr4Ue6nMsmuZxd1JwqD1-cAGbF8iTNGMDXByoAnLdlh-F9r8ZDM8OJ5ckbGYlNHMhFA/s320/singing-church-diverse1.jpg" width="320" /></a></div><br />
<span style="font-size: large;"><b>2. Music needs to be worthy of attention.</b></span><br />
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<a href="http://organlessons.blogspot.com/2010/03/lesson-12-prelude-and-postlude.html" target="_blank">Prelude and postlude</a> needs to be planned in advance and practiced until it is worthy of the congregation's attention. Even if this music simply consists of hymns played directly <a href="http://organlessons.blogspot.com/2010/04/guest-article-playing-preludes-from.html" target="_blank">from the hymnal</a>, there are ways to enhance their musicality, making them beautiful and appropriate to set the tone for worship. <a href="http://organlessons.blogspot.com/2010/03/lesson-11-prelude-registration.html" target="_blank">First, experiment with different registrations.</a> Prelude, with very few exceptions, should not be played with the same registration or volume utilized to accompany congregational hymns. Registration during prelude should vary from piece to piece, if not verse to verse. Make prelude something special, something worthy of attention that will invite the congregation to ponder, reflect, and prepare for worship.<br />
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Likewise, <a href="http://organlessons.blogspot.com/2010/08/lesson-24-creative-introductions-for.html" target="_blank">the introductions to the hymns themselves</a> should inspire the congregation to desire to sing. While many hymnals have bracketed suggestions to indicate possible introductions, these brackets are just that: suggestions. I've found, personally, that many of these introductions are too short to allow the congregation time to shift gears from listening to participating, then pick up and open their hymnals to the proper hymn number and prepare to sing. Keep an eye on those who sit on the stand near you. If their hymnals are not open and ready to go at the end of your introduction, or if the congregation's volume quickly increases through the first few measures of the hymn, your introduction was probably too short.<br />
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Dale Wood, who was a renowned composer, organist and choral director, created a collection of "Festive Hymn Introductions," and in his forward he gave sound advice that I have taken to heart: <br />
<blockquote class="tr_bq"> Hymn playing should never become a routine and commonplace thing. A conscientious organist must continually inspire the congregation and not allow the singing to become monotonous and prosaic.</blockquote>Make sure that hymn singing in your congregation is <a href="http://organlessons.blogspot.com/2010/08/hymn-singing-should-not-be-boring.html" target="_blank">a new experience every time</a> (I highly recommend clicking that link and reading my article, "Hymn Singing Should Not Be Boring"). Follow the hymn text as you play. <a href="http://organlessons.blogspot.com/2010/02/lesson-5-interpreting-hymn-text.html" target="_blank">Study the hymn text in advance.</a> Be familiar with the <a href="http://organlessons.blogspot.com/2010/08/poetry-of-hymns.html" target="_blank">poetry of the hymn</a>. What is the message of the hymn? What is the message of each individual verse? How can you, as organist, highlight these? What is your <a href="http://organlessons.blogspot.com/2010/02/lesson-4-hymn-registrations.html" target="_blank">registration</a> plan? Where in the verses should the organ <a href="http://organlessons.blogspot.com/2010/01/breathing.html" target="_blank">"breathe"</a> and where should the organ sustain? How can you use the resources at your disposal to paint the message of the hymns with your registrations, registration changes, and creative or <a href="http://organlessons.blogspot.com/2010/04/free-accompaniments.html" target="_blank">free hymn accompaniments</a>?<br />
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Will your plan be effective? Will it support and encourage the congregation in singing with the Spirit? Will it solidify the message of the hymn and touch hearts? Will it draw undue attention to itself, thus detracting from the message of the hymn? Will what you did last time be the right plan for this time? If not, what changes do you need to make when you accompany the hymn this time?<br />
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Most importantly, hymns need to played at their <a href="http://organlessons.blogspot.com/2010/01/importance-of-proper-and-consistent.html" target="_blank">proper tempo</a>! Invest in a metronome, or download a free app that includes a metronome component. Play through the entire hymn with the metronome to ensure that you are playing consistently and properly. Is the tempo so slow that the congregation runs out of breath in the middle of a phrase? Is the tempo moving so quickly that the words are difficult to pronounce in the allotted time? Will the congregation check their watches, wondering when the hymn will finally end? Or will the congregation so comfortable in focusing on the words that they will give no thought at all to the tempo of the hymn?<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://www.lancasterdiocese.org.uk/wp-content/uploads/2015/05/121.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAr1NGPVvruFg72xsnMlKEbKB5J1o4HSQWphn9X5CtHdv-kF6jBromRtW126v7sqIj9da3V0tD9VDI2Pmhn_H0JMzJGYm32VUIMUNy2ZAh7VITrbVYZL0oyHu7eLyMDIYElDwdS8HJgxc/s320/121.jpg" width="320" /></a></div><br />
<span style="font-size: large;"><b>3. Realize That You Are Developing a Relationship with Your Congregation</b></span><br />
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Whether you realize it or not, and whether your congregation realizes it or not, you are developing a relationship with each other.<br />
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Can your congregation trust you implicitly?<br />
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Are you consistent with your breaks after your introduction and between verses? Is there a chance a member of your congregation will begin to sing full voice, all alone as you're taking extra time to change registration? Will you cut off and stop playing while members of your congregation are still singing the final notes in full voice? Can your altos or tenors count on you to consistently play their notes correctly? Can your congregation count on your volume to adequately support their singing, even if you make registration changes during the hymns? Will your registration change leave them singing full voice with little organ support? Will they be afraid to sing out because they don't have the trust that you will be there to catch them?<br />
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When your congregation is to sing an unfamiliar hymn, can they trust you to play the entire hymn through before they begin to sing so that they will not encounter any surprises? Is your registration strong enough on the first verse so that they feel comfortable singing out on an unfamiliar hymn? Will they be able to hear themselves sing, or will the organ overpower the congregation? Is your registration effective on well-known hymns? Do you enhance the message of hymns they know well and seek to inspire the congregation through your playing so that familiar hymns don't become boring? Is your congregation excited to worship together through the singing of hymns?<br />
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What is your relationship with your congregation? <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://theworddetective.files.wordpress.com/2016/09/colossians-3_16.jpg?w=700&h=490" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpEztSuwKaXSDSs4JBqq02IoeN7Rd3cPELCp0btI2ECKxuKWlb2PpM003a-CvWObcO4k_iPRQJ-iH5PQPBXYE0yyYqryrg_Hi4bIzuJZKidE0p1yh2tejN4VPQ6mePiaC3FAQxwT7_Dhs/s320/colossians-3_16.jpg" width="320" /></a></div><br />
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<span style="font-size: large;"><b>4. When In Our Music, God Is Glorified</b></span><br />
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<a href="http://organlessons.blogspot.com/2016/02/this-is-why-i-play-organ.html" target="_blank">Remember why you play the organ.</a> Remember why music exists in worship. Remember that the purpose of your calling is not to call attention to yourself. You are playing the organ to help invite the Spirit and enhance worship for your congregation.<br />
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Create Zion. The <u>only</u> time your congregation will be of one heart and of one mind is while they sing. Foster this experience for them. Show them a little bit of heaven every time they sing the hymns. Allow them to worship uninhibited. And remember: People will actually sing if you let them.<br />
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Do you hear the people sing?<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-241108618966989287.post-74724821786777143062016-04-13T17:32:00.003-07:002016-04-13T17:32:46.628-07:00Frustrated Because of Your Mistakes?<div data-contents="true">
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<span data-offset-key="feqvu-0-0"><span data-text="true">How many of you heard the live version of Music & the Spoken Word on Sunday? Did the organ introduction to the opening number sound a little off to you? Richard Elliot had, in his words, a "less-than-stellar performance." So much so, in fact, that the piece needed to be re-recorded for the re-broadcast.</span></span></div>
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<span data-offset-key="e3ud0-0-0"><span data-text="true">Normally I would never point out the mistakes of others, as I think it's not productive to dwell on them. In this case, however, I think it's good for everyday organists to know that nobody is perfect. Making mistakes is human, and even the accomplished </span></span><span class="_5u8u" data-offset-key="e3ud0-1-0" spellcheck="false"><span data-offset-key="e3ud0-1-0"><span data-text="true">Richard Elliott</span></span></span><span data-offset-key="e3ud0-2-0"><span data-text="true"> is not immune. So when you're struggling because of the mistakes you make, take heart and know that you're in good company with the rest of us! </span></span></div>
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<span data-offset-key="e3ud0-2-0"><span data-text="true">I've certainly made my share of gut-wrenching mistakes.</span></span></div>
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<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-241108618966989287.post-8121660302944778762016-02-20T21:31:00.001-08:002018-01-25T13:52:57.260-08:00THIS is why I Play the Organ<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXRV0170lUXmRzX7XO0T6liD3kEbAVIpoaw27b_-e20MmTj2ojqYA-f7gCJkK7yaoQ70dnL-Qof0bkoEY7eDA6ljPrzznaw0H5j9SsNMi4IiHbs8yNvxXTQgARw89sPVoLzdaranRCU-w/s1600/Soli+Deo+Gloria.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK98X1yB1uLfS_KPWNTc0nMRTkSfR7K0ADJtkZDm278ctOZIBekRi9_tqRfx47VLupMYBQ-AsKiOJt-ryrgYAmHwJINaRiwPtAe6LbNALdcQboSRG2oJepju_InAPBzlJwTFQJqlERWZg/s320/Soli+Deo+Gloria.jpg" width="320" /></a></div><br />
I played for the adult session of stake conference tonight Elder Doxey of the Seventy was our visiting authority. The stake music chairman had an opening and closing hymn planned, with a musical number in the middle of the meeting. Thursday evening, I spent about 3 1/2 to 4 hours at the stake center, practicing, choosing the perfect registrations for the hymns, prelude, and postlude, and solidifying the pieces I would be playing.<br />
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Tonight, as I was finishing up my second-to-last prelude piece, the second counselor in the stake presidency came up to me and asked if I could talk while I was playing. Of course, I said, "yes." He proceeded to tell me that Elder Doxey asked for a standing rest hymn, and wondered if "Israel, Israel, God is Calling" would work. It really didn't matter what he was asking, my answer would have been yes (that's something the Bonnie Goodliffe instilled in me during the lessons I took from her)! So I did. I replied, "Yes," then added, "I'll have to register on the fly, but we'll make it work!"<br />
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After the opening hymn, I turned to the newly added rest hymn and the page was pristine--I had never played it out of my newer hymnal, and all of my markings were in a different one. I quickly penciled in pedaling, then peeked at the other registrations I was using to figure out a registration plan that I could have relative confidence in. I made the appropriate marks, said a quick prayer, then sat down.<br />
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When the time came to play, no one there would have ever known it was my first run through of the hymn in months, if not years, and my first run through on that organ. I was blessed with an outpouring of the Spirit, and played almost flawlessly, chose perfect registrations to highlight the text of the verses, and even added in a few running bass line notes and a pedal point on the last verse to better highlight the message of the hymn. How blessed I was, to be able to turn a last-minute hymn addition into a glorious musical experience for the congregation! The Spirit was there in abundance, and I felt honored to be able to bring more to the meeting.<br />
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Following the closing hymn, while I was playing postlude, I was thanked by several members with tear-filled eyes.<br />
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Tonight's offering on the organ was a culmination of many, many years of hard work and dedication: Countless hours of practice let me to this point. I've been "good enough" to play a good, spirit-filled service for years, yet I continue to practice, to persevere, to sacrifice, all in the name of the organ. Why? Many times I do not have an answer. I do it because I can't imagine NOT doing it. It's who I am: It's part of me, and has been my entire life.<br />
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Why do I continue to spend the long, tiring hours, slaving away at the organ? Why do I feel the need to continually improve myself? Why is playing the organ such a huge part of my life?<br />
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Tonight my purpose became very clear, once again, to my soul:<br />
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Tonight I touched lives. Tonight I did a good work. Tonight, I helped others feel the Spirit through song as many have never felt it before. Tonight I helped others glorify God.<br />
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That is why I play the organ.<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-241108618966989287.post-56656864212850887032015-08-21T10:36:00.003-07:002018-01-25T13:53:57.121-08:00Slow and Steady: The Tortoise Had it All Figured Out<div class="separator" style="clear: both; text-align: center;">
<a href="https://upload.wikimedia.org/wikipedia/commons/0/05/The_Tortoise_and_the_Hare_-_Project_Gutenberg_etext_19993.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2L18O89hu0XNoXdhCML2zBsGzoBqHrzRaYOSWKb_gRS_bi2M47duyW3c_eSXtn3N5X0Tuv7UJcr7cNBMUcS-9QvuivFCpkoyMQZNdOijpxuPSWFpPq_ZsX50dqfsQ8_qTLuHlOr5RmrA/s320/The_Tortoise_and_the_Hare_-_Project_Gutenberg_etext_19993.jpg" width="320" /></a></div>
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When I first started studying the organ, I felt that the more I learned the less I actually knew. There was a very steep learning curve, and I felt left behind. When I finished my Organ Essentials semester class at <a href="http://organ.byu.edu/" target="_blank">BYU</a>, I was sure of only two things: I could NOT play the organ, and I was NEVER going to take the Organ Literature class that followed.<br />
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Life has a way of working things out, and while I never did take the Organ Literature class, I ended up devoting much of my life to the study of the organ, even picking up a number of organ students along the way.<br />
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One of the biggest problems my students face, is one I faced myself: incredibly slow visible progress. It seems that hours and hours of practice produce a negligible amount of success, especially at first.<br />
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It's frustrating and discouraging when hours of dedicated practice seem fruitless. To help my students, I always teach them what is actually happening.<br />
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Playing the organ involves many different skills and cognitive abilities that aren't used anywhere else. Learning how to play with independence of line (sustaining the soprano while the alto line breaks, for example; or playing the bass line in the pedals, but the tenor line with the left hand) requires the brain to make new connections. <a href="http://www.sciencedaily.com/releases/2013/10/131010205325.htm" target="_blank"> Recent research</a> shows that the brain, even throughout adulthood, has remarkable plasticity. It might be difficult for an old brain to make new connections, but <a href="http://sm.stanford.edu/archive/stanmed/2005fall/early-learning.html" target="_blank">it's never too late for renovation</a>!<br />
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With steady, consistent practice, your brain is <a href="http://www.whatisneuroplasticity.com/pathways.php" target="_blank">making new pathways</a>. While you often won't see remarkable progress immediately, even after numerous, consistent practice sessions, your brain is working behind the scenes, building and strengthening new neural pathways.<br />
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After many consistent practice sessions, you will see improvement. Once the pathways are strengthened, success will come, sometimes overnight, sometimes a tiny bit here and there, but you will finally realize the result of your hard work.<br />
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Take heart: just like the tortoise in <a href="https://en.wikipedia.org/wiki/The_Tortoise_and_the_Hare" target="_blank">Aesop's fable</a>, you, too, will win the race and find great success on the organ through consistent, diligent, and dedicated practice.<br />
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Enjoy the journey, have faith that your brain is working behind the scenes, and celebrate little successes along the way.<br />
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I know you can do it!<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-241108618966989287.post-85386848151153111212015-08-04T21:56:00.001-07:002018-01-25T14:01:05.910-08:00BYU Organ Workshop Notes and Pictures<div class="separator" style="clear: both; text-align: center;">
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Are you following this blog on <a href="https://www.facebook.com/pages/The-LDS-Organist-Blog/334614664920" target="_blank">the facebook page</a>? If not, you're missing out on so much! Check it out today for pictures and notes from the BYU Organ Workshop!<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-241108618966989287.post-7458588134026523732015-06-30T23:29:00.002-07:002015-06-30T23:29:47.633-07:00Extra Time to Fill After the Sacrament Hymn?<div class="separator" style="clear: both; text-align: center;">
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The sacrament hymn is an integral part of preparing the congregation to take the sacrament and renew sacred covenants. This portion of our sacrament meeting is very sacred--in fact, it is the very reason we hold sacrament meetings. As organists we have the privilege to help prepare our congregations for this hallowed ordinance.<br />
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Sometimes, the sacrament hymn is concluded before the priests have finished breaking bread. When this happens, what should the organist do?<br />
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The most common practice in this situation is for the organist to continue playing until the priests are finished breaking bread. While your Bishop may request for it to be handled differently (always follow the counsel given by your priesthood leader), if you are expected to play during this time, what do you do? How can you best invite the spirit and solidify the message of the sacrament hymn?<br />
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There are some sacrament hymns which almost always end before the bread is broken, such as hymn #184, <i>Upon the Cross of Calvary</i>. Then there are hymns such as #183, <i>In Remembrance of Thy Suffering</i> which seems to go on forever. Either way, it's good to have a plan for what you will do if you need to continue playing after the verses are sung.<br />
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<b>Sing All the Verses</b><br />
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My first recommendation is: If there are additional verses printed underneath the music, talk to your Bishop about having the congregation sing them! I remember how disappointed I was in my previous (very large) ward, when we finished singing three verses of hymn #187 <i>God Loves Us, So He Sent His Son</i> and the priests were still breaking bread. The organist continued playing the hymn through twice--the same number of verses that were printed below the music. We could have continued singing the beautiful text that followed! The very last couplet is my favorite:<br />
<blockquote class="tr_bq">
In word and deed he doth require<br />
My will to his, like son to sire,<br />
Be made to bend, and I, as son,<br />
Learn conduct from the Holy One.<br />
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This sacrament doth represent<br />
His blood and body for me spent.<br />
Partaking now is deed for word<br />
That I remember him, my Lord.</blockquote>
If there are additional verses, my recommendation is to sing them! Fortunately, I have a Bishop who (while not a musician himself) loves music, and recognizes the value of singing all the verses, something that is encouraged in the "Using the Hymnbook" section of the hymnal.<br />
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If there are no additional verses, or if your Bishop does not want to sing them, what can you do?<br />
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<b>Make a Plan</b><br />
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As the sacrament hymn ends, the organist has to make a judgment call on the spur of the moment: Are the priests finished breaking bread? How much longer will it take before they're done? Is there time to play the entire hymn again or not? Sometimes, the organist will play the first chord of the hymn, and the priests will sit down. Or the organist will think the priests are going to finish up any second, and then the priests continue to break bread for another long minute in silence. Having a flexible plan can help with this transition, and subtly allow the congregation to review in their minds the words they just sang.<br />
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<b>1. What registration are you going to use?</b> Your registration for the post verse should be different in volume and color from the congregational accompaniment registration. Please don't continue playing with the same registration on full volume! This registration should be very reflective, subdued, and allow for reverent preparation, similar to what you would hear in the temple chapel. I've set a couple of my divisional pistons (the pistons that only affect the great, pedal, or swell manuals) specifically for additional sacrament time. For example on all three #1 pistons, I have a soft solo registration on the swell, a very soft string celeste on the great, and a soft pedal 16' and 8'. I can quickly use my hands and feet to select all three #1s and begin playing an additional verse immediately following the final verse of the hymn when needed. I also set all three #3s as a contrast when needed.<br />
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<b>2. What are you going to play?</b> Can you lengthen or shorten it? Mike Carson has a wonderful fughetta for hymn #184 that does not call attention to itself and works very well in this instance. I use it almost every time we sing that hymn. You can email him at mcarson [at] digis [dot] net to request a copy. Daniel E. Gawthrop has a simple, appropriate arrangement of <i>Jesus, Once of Humble Birth</i> (titled "Deliverance") available on <a href="http://wardorganist.com/">wardorganist.com</a> that I use on occasion. I've also taken an arrangement of <i>There Is a Green Hill Far Away</i> from <a href="https://www.lds.org/bc/content/shared/english/pdf/callings/music/hymns-made-easy/Hymns_000_HymnsMadeEasy_eng.pdf?lang=eng" target="_blank">Hymns Made Easy</a> and transposed it to the key in the hymnal to play during this extra time, adding appropriate pedal notes throughout. If you are going to use an arrangement ask yourself: "Does this arrangement call attention to itself? Is it simple and humble? Does it allow for reflection? Is it in the same key as the hymnal? Can it be shortened as necessary? Does it 'feel' right this week?" Remember, as organists we need to use this time to solidify the message of the hymn in the hearts and minds of the congregation, and to provide time for reverent preparation. Many times I will just use a soft registration and play through the hymn again, the last line of the hymn again, or I will solo out the soprano line on the swell, play the alto and tenor notes on the great, and play the bass notes in the pedals.<br />
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<b>3. What will you do if the priests sit down right as you start to play?</b> Do NOT stop after one note! Play a short phrase that resolves and feels intentional. Music deserves to be present, and not be an afterthought. Don't play the entire hymn through, unless your Bishop wants you to, but make sure your playing is intentional and reflective. Figure out in advance how to play as little as possible to still make your playing feel complete, giving an "Amen" to what has been sung.<br />
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<b>4. What if you stop too early?</b> This past Sunday, I played an entire post verse for hymn #173 <i>While of These Emblems We Partake</i>, and one priest was still breaking bread. Assuming he would quickly finish, I repeated the last phrase, and he was still going! It would have sounded "wrong" for me to play something else at that point, so I stopped and allowed for some silence as he finished. Don't feel like you have to continue playing if your preparations were too short, or if you misjudged the amount of time it would take for them to finish. It's better to allow for silence than to detract from the spirit by scrambling to fill that time, or beginning again after stopping.<br />
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<b>5. How are you going to lower your volume?</b> I've found that when I am sensitive to the organ's volume level, and take the volume down significantly for these post verses, the congregation audibly quiets, the spirit intensifies, and everyone is better prepared to partake of the sacrament. How are you going to accomplish this volume change? Practice your plan! Will you close your expression pedals? Will you make the volume change solely through a registration change? Will you do both at once? Make sure you are comfortable with the method you choose, and make sure you can make the change very quickly and seamlessly!<br />
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<b>Always Remember</b><br />
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Remember, you are preparing the congregation to participate in the sacred ordinance of the sacrament. <br />
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Remember, your Bishop has stewardship over how this extra time is handled.<br />
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Remember to prepare with the Spirit, "which <span class="highlight">showeth</span> <span class="highlight">all</span> <span class="highlight">things</span>, and teacheth the peaceable <span class="highlight">things</span> of the kingdom" (<a href="https://www.lds.org/scriptures/dc-testament/dc/39.6?lang=eng#5" target="_blank">Doctrine and Covenants 39:6</a>).<br />
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Remember, as we partake of the sacrament we promise to always remember our Savior. Remember Him as <i>you</i> prepare to prepare your congregation to participate in this sacred ordinance.<br />
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Thanks for reading! <br />
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<i>You may also be interested in this article: <a href="http://organlessons.blogspot.com/2011/05/real-life-continuing-to-play-after.html" target="_blank">Real Life: Continuing to play after the sacrament hymn is over</a></i></div>
<div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-241108618966989287.post-24938498777254226442015-02-27T22:52:00.002-08:002015-02-27T23:00:35.196-08:00Watch that volume, even if it's a funeral!The purpose of this blog is to help organists learn and grow so they can better fulfill their calling and magnify their opportunity to play for worship services. As such, when my personal experiences bring suggestions to mind, I like to share them here, so that we can all learn from each other. <br />
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I had the opportunity to attend the funeral service for my uncle this morning. It was an emotional occasion, but one that brought a lot of my extended family together for a treasured reunion.<br />
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The funeral was held in a beautiful, old mortuary. The chapel was quite narrow, but very long. I ended up sitting near the back with my brother, a couple of my aunts and their husbands. As we took our seats, just prior to the beginning of the funeral, I mentioned that I couldn't hear the organ prelude music from our seats. My aunt commented that she couldn't even hear the organ as we entered, near the front of the chapel. I considered letting the organist (a stranger to me) know, but there wasn't time before the family entered.<br />
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<b>Lesson #1 from today: While a subdued organ prelude is very appropriate for a funeral, make sure your organ playing can be heard! </b>If you are playing in an unfamiliar space, it is a very good idea to ask someone to be your ears, and let you know how the organ sounds from the rear portion of the space.<br />
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When the introduction began for the opening hymn, I was a bit concerned, as the organ was again very underpowered from where I was sitting. This concern was well founded, as the rear of the chapel finished the hymn a good six to eight beats behind the front of the chapel--and the organist twisted in her seat to watch us finish singing the first verse.<br />
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<b>Lesson #2 from today: If the people in the rear of the chapel are singing significantly behind those in the front, it probably means they can't hear the organ adequately.</b> If this happens to you, try increasing the volume by opening the expression pedals or adding stops for the next verse. Remember: Even congregational hymns for funerals need to be supported with adequate organ volume, especially if you do not have a music director. Fortunately, we did, so we had to rely on our eyes instead of our ears for the remaining verses and hymn (the closing hymn was equally soft).<br />
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It was a wonderful funeral, and while the lack of organ volume didn't detract from the service, it did inspire me to share this experience with my readers.<br />
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Organ volume is very, very difficult, if not impossible, to determine from the console. If your electronic organ has both console and external speakers, turning the console speakers off (there is usually a stop tab that does this) can help you get a better feel for the volume in the room. However, nothing works better than another set of ears providing feedback. And remember--the volume in an empty chapel will be louder than in a chapel full of people, who absorb the sound.<br />
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The buddy system isn't just for field trips--give it a try!<br />
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Thanks for reading. <div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-241108618966989287.post-58064974527369746052015-02-27T22:28:00.001-08:002015-02-27T22:28:18.576-08:00BYU Organ Workshop Registration for 2015Registration is now open for the 2015 BYU Organ Workshop. Register before March 2nd for the best price!<br />
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<a href="http://ce.byu.edu/cw/organ/index.php">http://ce.byu.edu/cw/organ/index.php</a><div class="blogger-post-footer"><center><a href="http://www.twitter.com/LDSOrganist"><img src="http://twitter-badges.s3.amazonaws.com/follow_me-a.png" alt="Follow LDSOrganist on Twitter"/></a></center></div>Unknownnoreply@blogger.com0