A simple and friendly guide to reading chant notation, the easiest guide in print to make it possible to sight read Gregorian Chant in a very short period of time. In Gregorian Chant notes are arranged like a train....each note or grouping has a clear purpose and when connected to its neighbors makes up a melody. This book teaches how to see them, read them and sing them. It was created for self-teaching, individual instruction, choir training or chant workshops. Chant is the basis for all modern music notation. This book shows the simple building blocks and teaches you to quickly be able to recognize and sing the basic patterns of notes that make up all chant, from the simplest ones to the melismatic Alleluias of the Roman Gradual.

Book 4 Operation of the Organ Controls Exploring USER and Library Access Stops. Here we study the controls of the organ that affect registrations. We fully examine organ stops and their use. As a reminder there are two large groups of stops on these organs, in addition to the stops whose names appear on the stop tablets or knobs, stops that are immediately available at all times to the organist. Voice Palette stops are assigned to stop tablets or drawknobs and tend to be from the same family as the stop name engraved on the face. They may be tonally finished by your technician or local person that does tonal finishing for your area. USER stops on the Roland and Rodgers organs and Library Access stops on Infinity Organ are available for you to choose, play and tonally finish as well. When you select them, you will find a menu that gives you the opportunity to make them sound exactly as you wish. And these changes may be saved to pistons. You may then voice it differently for another piece and save that to another piston. Trying stops out could become boring, but we've eliminated that possibility by including music that you will want to play. This book prepares you to play not only church services, but also recitals as we explore these stops with music by Pachelbel, Franck, Dubois and two Bachs. To conclude the book we've included showpieces by two Vierne's, Boelmann, Lefebure-Wely - all for manuals only with optional pedals. Pachelbel may be known for one piece, but we are beginning to discover that his music may even rival Bach's for variety and depth. As we try a variety of stops we play variations on a theme by Pachelbel. Throughout we offer advice and guidance on playing the organ - choosing tempos, registrations, techniques and more that will make your playing shine. The organs also include some useful orchestral sounds - the Orchestral Oboe is absolutely lovely - and we cover using them as well. Playing the organ State Trumpet with the Orchestral Trumpet at a slightly lower volume level work nicely as well. Theater Organ USER & Library Access Stops Theatre organs are different than church organs, as they are winded at a higher pressure (around 10) than the pressures of church organs. Tremulant works letting a little air escape over and over again. On theatre instruments a lot of air escapes so the pitch drops and the volume drops, giving the organ a sobbing sound. These tremulants are built into the USER/Library Access theatre stops. You may enjoy playing these while using our Playing Silent Movies book lessons.

Book 3 Building Stop Registrations Using Voice Palette Stops This book goes into depth into more than just using more stops, instead right along wiht the new stops you will be playing we investigate techniques of combining stops as well as developing organ technique. The organ can have just one keyboard, but this is sort of rare. Organs have two or more keyboards and pedalboards so that the organist is able to play more than one instrumental line and sound at a time. The organ is one of the few instruments that makes this possible. While pianists play, bringing out the bass melody, then echoing it in the treble, it's all using the same sound. Pianists must work hard to produce a difference in the tone while playing - an organist just chooses a new stop Here we play music that echos itself, music in which the organ accompanies itself, and that use two different instruments playing against each other. We also go into choosing tempos, stroking the keys for sparkling playing, using our secret weapon - silence - to accent notes and guides on how to choose stops by analyzing the music. Coupling - playing stops on two keyboards at one from just one keyboard - is used to build up the chorus sound of the organ, sort of like combining two choirs for a special performance. More clues to matching registrations are accompanied by music that makes it easy for you to see and hear how this all works. Pedals remain optional - and much of this music was written for organs without pedals as composers understood that organists in smaller churches also had money to buy music, so quite a bit of organ music appears in print with and without pedals. We dig deeper into what the stops are and how to use them as well as giving you all sorts of ideas for creating your own stop settings. By the end of this book you will understand the Voice Palette stops that are behind the engraved stop tablets or drawknobs of your organ. They are like having the ingredients for making a pasta dish not just Italian cooking, but also German, French and even for American macaroni and cheese. These organs today have stops representing many nationalities of organ building and with these organs you are able to dip into each style of organ building and experiment with registrations to make the music sound just as you expect it to, very easily. 25 pieces written for the organ including 3 fugues, three settings of the choral "Jesu, Meine Freude" by Pachelbel, Bach and Bohm and four settings by Walther. Learning stop families and traditional stop combinations including the "cornet" are a lots easier when you can actually play and hear them. "Scholarly Music" turns out to be fun to play when you are using the stops it was written for by the composer. Hear Bach how Bach heard it. New music that will serve you and your church congregation for many years.