Class Descriptions

2

4-6

CHOIR REHEARSAL TIPS FOR THE ORGANIST

This session offers some hints for effective choir accompaniment at the organ by a professional church organist. 

1

3-6

CHORALE PRELUDES IN LATE 19TH-CENTURY GERMAN ORGAN MUSIC

Many organists from the late Romantic era wrote beautiful works based on the hymns their congregations knew.  This class will consider works by Reger, and lesser-known contemporaries of Rheinberger and Brahms.

2

1-6

CREATING MUSICAL PHRASES AT THE ORGAN

Stepping back from notes, rests, trills, and ties, we observe a world where all these fade into a larger perspective that we call a musical phrase.  How can an organist help the listener hear these phrases when the dynamics of each tone are basically constant?  This class will deal with musical phrasing in both organ pieces and hymns.

1

4-6

HOW TO PULL OFF A SUCCESSFUL HYMN SING (OR FIRESIDE)

If you have ever been inspired by a hymn sing such as those presented at the BYU Organ Workshop, you might consider organizing one in your area.  This class will present ideas on organizing, publicizing, and carrying out just such an event. 

3

3-6

HYMN PLAYING: CREATIVE TECHNIQUES (Levels 3-6)

This course is intended for pianists or organists who have had formal introductory organ training and who are applying that training in their hymn playing.  The following topics will be covered:

• Rearranging Parts (soprano solo, tenor solo, alto up an octave, soprano/tenor switch, manual only)
• Nonharmonic Tones
• An Introduction to Creative Introductions and Interludes
• An Introduction to Free Accompaniments 

Bring a hymnbook and receive specific direction and ideas for the coming year's practice.

Hymnbook required.  Organ shoes recommended.  Also recommended:
Belnap, Parley L.  Hymn Studies for Organists.  Rev. ed.  Provo, UT: BYU Creative Works Office, 1992/2004.
Cook, Don.  OrganTutor Organ 101 [complete or workbook only].  Provo, UT: BYU Creative Works Office, 1998/2007

You should be familiar with the concepts covered in the course Hymn Playing in the Sustained Style.

1.5

2-3

HYMN PLAYING: FINGERING CHALLENGING PASSAGES

It’s one thing to learn a hymn with fingering all ready prepared, but quite another to derive a good fingering plan from scratch.  This is an opportunity to watch a very experienced organist go through the process of fingering a hymn.  She will “think out loud” through the trial-and-error fingering process for all to see.  Bring your hymnbook and a pencil!

3

1-2

*HYMN PLAYING IN THE SUSTAINED STYLE (Levels 1-2)

This course teaches how to learn hymns in the sustained legato style: evaluating the text, dealing with the repeated notes, planning fingering and pedaling, and practicing.  In addition, this class touches on introductions and interludes, and offers a few “shortcuts” to help you meet the immediate needs while you work on your long-term hymn-playing skills.

It is intended for pianists or organists who have had little or no formal organ training or who need help in applying that training in their hymn playing. 

Bring a hymnbook and receive specific direction and ideas for the coming year's practice.

Hymnbook required.  Organ shoes recommended.  Also recommended:
Belnap, Parley L.  Hymn Studies for Organists.  Rev. ed.  Provo, UT: BYU Creative Works Office, 1992/2004.
Cook, Don.  OrganTutor Organ 101 [complete or workbook only].  Provo, UT: BYU Creative Works Office, 1998/2007

1.5

2-6

HYMN PLAYING OUTSIDE OF THE SUSTAINED STYLE
Explores musical alternatives to the sustained legato style of hymn playing.

2

3-6

HYMN REGISTRATION FOR THE INTERMEDIATE TO THE ADVANCED ORGANIST (Levels 3-6)

1. What are the principles of hymn registration? (brief review) Understanding, applying, and teaching this pivotal concept
2. What is an organ specification, and why is it critical to understand this aspect of organ design?
3. Finding suitable registrations for hymns of quiet, moderate, and energetic character
4. Examples of “how to make it happen” (within individual divisions, families of sound, and the whole organ)

To get the most from this class, bring a list of the stops on the organ that you play, including pitch designations.  List them under each division (Great: Principal 8’, Octave 4’, Mixture IV, etc.; Swell: Bourdon 16’, Geigen Principal 8’, etc.; Pedal: Principal 16’, Lieblich Gedackt 16’, etc.)  Provide a copy at the registration desk when you arrive. 

Participants should be familiar with the concepts covered in the Registration Basics class.

4

6+

LIFE AFTER BASIC THEORY: FIRST STEPS IN HYMN IMPROVISATION

This course explores various ways to branch out from “the paralysis of the printed score” and begin developing hymn improvisation skills.  A variety of skills—from rudimentary to more advanced—will be introduced, serving as a good foundation for the coming year’s study. 

4

all

*LUNCHTIME LISTENING SESSIONS

Bring a lunch while you listen to experienced organists from a variety of backgrounds and perspectives play their music.  Helpful lists and spoken announcements by the performers will reveal their sources—a valuable resource for all who attend.  This is an excellent opportunity to hear new pieces and make choices for future study.

In the Tuesday session, "Examples from Levels 1 Through 6," examples are played from each of the six Organ Instruction (Independent Study) levels.  This is an excellent time to place yourself into one of the Organ Technique and Repertoire levels for the workshop.

Wednesday’s session is an opportunity to hear selected organ favorites of BYU Church Music Workshop founder Dr. Parley Belnap.  No stranger to this workshop, Dr. Belnap’s draws from a wealth of experience as he shares some of his most cherished organ works with us. 

In the Thursday session, “Creating Preludes and Postludes From the Hymnbook,” Lisa Glade will describe and demonstrate various ways to create tasteful hymn “arrangements” directly from the hymnbook.

For the Friday session, “Bells and Benediction at the Bean,” we will gather between the Bean Life Sciences Museum the BYU Centennial Carillon Tower and hear a short carillon concert as we enjoy a tasty box lunch.  Following the carillon music will be our closing session (still outside).  We will recognize the achievements of some of our participants, and hear some closing remarks from your fearless workshop directors, Don Cook and Douglas Bush.

4

1-2
3-4
5-6

*MUSIC THEORY FOR THE ORGANIST (Levels 1-6)

Why is music theory central to musicianship?  These classes provide an opportunity to go over some key concepts with an expert, and serve as a springboard for further study throughout the year.  We recommend that you attend the earliest level that teaches concepts with which you are not yet familiar.

Levels 1-2 (concepts covered in Paul Harder, Basic Materials in Music Theory):
time and sound, sound waves, pitch, intensity, timbre, harmonics, the harmonic series, symbols for tones, basic scale, treble clef, bass clef, C-clefs, ledger lines, grand staff, ottava sign, half- and whole-steps, accidentals, enharmonic notes, chromatic scale, pitch designations, beat, meter, simple and compound time, borrowed divisions, subdivisions of the beat, relative value of notes and rests, the dot, division of dotted and undotted notes and rests, subdivision of dotted and undotted notes and rests, the unit in simple and compound time, metronome indications, terms that express tempo, time signatures in simple and compound time, relation of time signatures to time classification, common time, alla breve, the tie, rhythmic patterns, syncopation, harmonic and melodic intervals, numerical classification of intervals, compound intervals, classification of intervals by quality, inversion of intervals, enharmonic intervals, structure of the basic scales, modes, the keynote, structure of the major scale, use of accidentals to form major scales on any note,  the natural, harmonic, and melodic minor scales; diatonic and chromatic intervals, key and tonality, major key signatures, relative keys, minor key signatures, use of accidentals to form the various minor scales, the circle of fifths

Levels 3-4 (concepts covered in Paul Harder, Basic Materials in Music Theory; and Steinke/Harder, Harmonic Materials in Tonal Music):
the tertian system, basic [diatonic] triads, major, minor, augmented, and diminished triads, Roman numeral identification, chord symbols, tonal, keynote, key, iteration, tonality, tonal center, tonal harmony, intervals, chords, triads, harmonic interval, root, diatonic triads, names of the degrees of the scale, names and qualities of chords on degrees of the scale, primary and secondary triads, basic harmonic progressions, triads in root position--doubling and spacing (basic principles, chord spelling, figured bass, voice ranges, close and open structure), triads in root position--voice leading (practical writing from figured bass, kinds of relative motion, principles of good melodic motion, principles of good voice leading when connecting triads whose roots are a fifth, second, or third apart)

Levels 5-6 (concepts covered in Steinke/Harder, Harmonic Materials in Tonal Music):
triads in first and second inversion (identify root, figured bass, chord spelling, proper doubling, part writing, open and close structure, cadential six-four chords, Roman numeral analysis), phrase structure and cadences (phrase, melodic contour, authentic cadence, plagal cadence, half cadence, deceptive cadence, final and non-final cadences, perfect and imperfect cadences, picardy third, phrygian cadence), harmonic progression (progression/retrogression, relative strength of various types of root movement, primary triads and their secondary triads in harmonic progression, structural and embellishing harmony, relation of a basic harmonic structure to the phrase as a whole), melody harmonization (choice of cadence, bassline, tonality, harmonic rhythm, basic harmonic structure, embellishments of basic harmonic structure), nonharmonic tones (identify and know how to write the following: passing tone--unaccented and accented, neighboring tone, appoggiatura, escape tone, anticipation, suspension, retardation, ornamentation, changing tone, pedal, free tone)

5

all

*ORGAN TECHNIQUE AND REPERTOIRE

These courses offer training for pianists or organists in basic organ manual and pedal technique, and in organ repertoire.  Choose the level appropriate for your needs, as described above. 

Important: to make the most of these classes, bring materials for the appropriate level (some will be available at the workshop displays or the BYU Bookstore, or contact Day-Murray music) and receive specific direction and ideas for the coming year's practice.

If you wish to try out the concepts and techniques you learn during the workshop, sign up for practice room time or drop into the organ lab during Supervised Practice or at any other open time. 

If you want personalized feedback or direction from an instructor, sign up for Supervised Practice sessions or for Private Organ Instruction.

Bring the following from the appropriate Organ Technique (or Independent Study organ course) level:

• One of the organ methods
• Your choices of the listed repertoire pieces
• Organ shoes are highly recommended

1

1

*ORGAN TECHNIQUE AND REPERTOIRE: PREPARATORY LEVEL SUPERVISED PRACTICE

The Preparatory Level is introduced during the first session of the Organ Technique and Repertoire—Level 1 class.  It offers training for pianists in the most basic skills needed in classical or sacred organ playing.  The Preparatory Level is designed to be learned, practiced, and completed during these Preparatory Level Supervised Practice sessions, while still allowing attendance at the Level 1 organ instruction and hymn playing classes.  As an alternative, the level may be prepared during the year and played either during the next Organ Workshop or during the year with an instructor approved through the BYU Organ Area. 

Music will be provided.  Organ shoes recommended.
Class size limit: 24 students.  Those turned away for the first class may sign up at that time for first seating at the Wednesday session.

1

all

*ORIENTATION, QUESTIONS, AND ANSWERS

This session describes the workshop in detail, explains how to participate with or without being involved in the BYU Independent Study organ courses, and offers plenty of opportunity to get your questions answered.

1

1-4

*PEDAL TECHNIQUE

This session covers the most important foundations of good legato pedal technique.  After attending this class, attend a “Pedal Technique ‘Feet-On’” session to get experience and individual guidance on your pedal technique.

1

1-4

*PEDAL TECHNIQUE “FEET-ON”

These sessions provide an opportunity to practice the techniques covered in the Pedal Technique class (see above) with the help of an instructor.  Beginning organists should definitely schedule one of these sessions during the week, and experienced organists who want pedal technique pointers are also welcome.  Bring pedal studies or music that you prepare before the workshop, or use materials provided by the instructor.

During Workshop Registration on Tuesday, sign up for one of the “Feet-On” Pedal Technique sessions.  The instructor will help you apply specific ideas that will strengthen your ability to “get around” at the pedal board.

Organ shoes recommended.

4

3-6

PERFORMING “TIPS” FOR BAROQUE ORGAN MUSIC

This class will introduce and review considerations for effective performance of organ music from the baroque period.  Class sessions will consider the process of deciding on phrasing and articulation, musical performances of ornamentation, choice of tempo and appropriate registrations.

The anthology, 80 Chorale Preludes by German Masters of the 17th and 18th Centuries includes baroque pieces recommended for several of the BYU Independent Study organ courses, and the class will help participants become familiar with the collection and the stylistic elements of these pieces.  It would be most useful to bring a copy of the anthology to the class.

1

2-6

*PIANO TECHNIQUE FOR THE ORGANIST

The organist can benefit from practicing scales, arpeggios, and other technical studies at the piano.  Learn pointers on healthy use of the hands and fingers to develop strength and agility, and suggestions for practice routines.

1

all

*PRACTICE TIPS

With a little help from our instructors, we are all basically “self taught.”  We teach ourselves as we practice.  Whether or not we are our own best teacher depends entirely on how we use our practice time.  The practice tips offered during this session from a fine performer will help you to use that precious time wisely.

1

3-6

PRELUDE AND POSTLUDE REGISTRATION FOR THE INTERMEDIATE TO THE ADVANCED ORGANIST (Levels 3-6)

1. What are the most common forms in which prelude and postlude music appear?
2. How do these forms correspond to registrational types.
3. Finding various suitable registrations for pieces of quiet or moderate character
4. Examples of “how to make it happen”

To get the most from this class, bring a list of the stops on the organ that you play, including pitch designations.  List them under each division (Great: Principal 8’, Octave 4’, Mixture IV, etc.; Swell: Bourdon 16’, Geigen Principal 8’, etc.; Pedal: Principal 16’, Lieblich Gedackt 16’, etc.)  Provide a copy at the registration desk when you arrive. 

Participants should be familiar with the concepts covered in the Registration Basics class.

25 or 50 min

all

PRIVATE INSTRUCTION

These are one-on-one organ lessons with your choice of both instructor and organ—an excellent opportunity to receive help in hymn playing, organ pieces, BYU Independent Study organ course requirements, or in any area of organ performance.  Play hymns and/or organ repertoire that you have prepared for the instructor, who will comment on your preparation and provide guidance for further study.  Pre-register or sign up at the information desk for one or more 25- or 50-minute appointment(s) with the instructor and instrument of your choice (space limited).  Limited practice time and choice of instruments will be available throughout the workshop.  A $25 fee is required per 25-minute session, and a $40 fee for a 50-minute session.

Remember that there will also be some opportunity for individualized feedback, at no extra charge, during the Supervised Practice and Study sessions scheduled throughout the week.  Sign up for these during workshop registration.

Organ shoes highly recommended.

1

all

*QUESTIONS AND ANSWERS FOR LDS ORGANISTS

A representative from the Church Music Committee will field questions about serving as an organist in the LDS church. 

3

1-2

*REGISTRATION BASICS (Levels 1-2)

This three-part series explores several fundamentals in organ registration that must be understood by all organists.

Part 1: ORGAN CONSOLE, and FAMILIES OF ORGAN TONE
Mysteries of the organ console are revealed, including the divisions of the organ and console devices such as thumb pistons and toe studs, expression and crescendo pedals, and other registrational aids.  The division of speaking stops into Principal, Flute, String, and Reed families is also introduced.

Part 2: PITCHES, AND CHORUS REGISTRATION
The numerals (pitch designations) found on stops are explained, leading to a discussion of the basics of building a good ensemble.

Part 3: SOLO AND ACCOMPANIMENT, AND TRIO/DUO REGISTRATION
Various types of solo stops and combinations are explored, along with ways to create balanced accompaniment combinations.  Trio/Duo registration is also explained, as well as the similarities and differences between these two registrational types.

1

1-2

*SHORTCUTS: WHEN AND HOW TO TAKE THEM (Levels 1-2)

This class will build on some of the concepts covered in the Registration Basics class to offer some shortcuts in hymn registration.  “Shortcuts” are procedures that are easy to apply quickly—as in this Sunday! Shortcuts will help you apply a few good ideas now, while you take the time needed to develop a more complete understanding for later use.

1

all

SIGHT-READING TIPS (Levels 1-6)

Playing a piece of music at sight is one of the most valuable and enjoyable skills that an organist can develop.  This skill is acquired by diligent practice and through experience, but a few helps and hints that could straighten out some of the bends in the road.

var

all

SUPERVISED PRACTICE AND STUDY

The BYU Organ Lab (room E-354 HFAC) offers a unique opportunity to learn about organ playing.  During Supervised Practice time you may practice on any of the twelve electronic organs in the lab.  If you want up to ten minutes with an instructor to answer questions and offer suggestions (no extra fee), you will need to sign up during workshop registration.  This is an excellent time for “hands- or feet-on” training.  You might also consider bringing a copy of the stoplist of your organ to Supervised Practice and Study to get a few registration tips from the instructor.

Four of the organs will be reserved for these ten-minute supervised practice sessions.  The other eight organs will be open for practice or computer study without supervision on a first-come first-served basis.

In addition, selected basic organ topics are available in the Organ Lab for self-guided study through OrganTutor, a computer tutorial.  Each organ in the lab is equipped with a computer that allows you to explore at your own pace such important topics as Families of Organ Tone, Pitches of Organ Stops, and Three Primary Types of Organ Registration.  See various pedal and manual techniques demonstrated in full-motion video clips.  Together with interactive hypertext links and self-tests, this system helps to clarify these important topics at your own pace.
  
You are welcome to use the Organ Lab and the organ practice rooms listed above without supervision whenever they are not being used for classes throughout the workshop.  The keypad combination is 33333.

Organ shoes highly recommended.

1

all

*TAMING THE JITTERS

Performing can create energy that can either inspire us towards excellent performance or push us over the top.  Learn skills to cope with that energy in a positive way.  This session promises something useful for organists at any level.

2

2-6

TEACHING ORGANISTS IN GROUPS

Pianists who are facing early-level organ study come with various backgrounds, ability levels, and aspirations.  Teaching organists in groups is especially challenging with faced with this diversity.  This course will familiarize you with some effective ready-made lesson plans, and will help get you started in creating your own plan.

4

1-6

*A “THUMBNAIL SKETCH” OF THE ORGAN AND ITS HISTORY

No other modern musical instrument has a history as rich and varied as the organ.  Its literature spans a full seven centuries—in the course of its development the organ has reflected the cultural diversity of lands, peoples, religious practices and musical taste.  Come learn about the organs of the Middle Ages, the Renaissance, the baroque era, 19th-century organs of Germany and France, and developments in the 20th century.  The class will explore music, look at photos and listen to examples of these beautiful organs. 

1

3-6

TRANSPOSITION TIPS (Levels 3-6)

“This piece is just too high.  Can you play it down a whole step . . . tomorrow?”  The organ accompanist is rarely given enough notice to prepare adequately.  Learn some transposition “tricks” and ideas on how to acquire this useful skill.

1

2-6

USING THE COMPUTER IN PRIVATE AND GROUP INSTRUCTION

This class will introduce some of the latest and most effective computer-based tools available to the organ teacher, including tutorials, online resources, discussion groups, and more.  These tools can render today’s organ teacher much more effective as a catalyst for student motivation and progress.

1

1-6

WHAT CAN AN ORGANIST DO WITH AN MP3 PLAYER?

Remember when the semi truck delivered your new console stereo to your door?  You proudly had them heft it into place against the wall that you had fitted with shelves to hold all your LPs.  Now that same musical collection and the device that delivers it to your ears can be hidden in the palm of your hand. 

This is a “how-to” class, geared towards the typical, technologically-challenged, tradition-bound organist type.  If you don’t all ready own an MP3 player, you’ll definitely want to spring the $20 (or more, admittedly) for one after you hear all the cool ways that they can rock your organ world.

1

all

*CLOSING SESSION—BELLS AND BENEDICTION AT THE BEAN (friday noon)

The closing session is an opportunity to put the workshop in perspective.  Enjoy some success stories involving workshop participants, some words of encouragement by the workshop co-directors, and a final opportunity to enjoy the company of new friends and partners in music making.

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*DISPLAYS

A few vendors will be offering music and materials for sale during selected hours throughout the workshop.  Materials recommended or required for the workshop classes may be available for purchase.  The only way to be sure, however, is to order them ahead of time through Day-Murray Music
  phone: 1-866-DAY-1946
  Internet: www.daymurraymusic.com
  email: info@daymurraymusic.com

7

all

*FIELD TRIP: SALT LAKE CITY AREA ORGANS

The workshop directors will host a complimentary tour of organs in the Salt Lake City area on Thursday, August 7.  Our bus will depart from south of the Morris Center at 3:15 p.m. and return to Provo at approximately 11:00 p.m. Some walking between sites is required.  Tentative schedule (more details to be announced):
  3:15 shuttles depart
  3:45  Tour of M.L Bigelow Organ Builders
  5:30 Dinner
  7:00 Assembly Hall Organ Recital by Doug Bush
  8:15 Tabernacle choir rehearsal
  9:00 Conference Center organ demonstration
  10:00 Board buses for return trip to Provo (arrive around 11:00)

1

all

*HYMN SING

One of the week’s highlights, the hymn sing, is a chance to sing and hear a number of hymns prepared by an experienced professional.  As the organist and director lead the congregation in singing the hymns, the organist uses hymn playing techniques that you might consider for use in a fireside or worship service.

1

all

*OPENING SESSION

This is an opportunity to set the right tone for the BYU Organ Workshop by joining with the rest of the participants in singing a few hymns and meeting the instructors.  This session features a special keynote address by Dr. Parley Belnap, founder of the BYU Church Music Workshop and emeritus BYU organ faculty member.

1

all

*ORGAN RECITAL

Enjoy a program of concert organ pieces presented by none other than a selected handful of your workshop instructors.