Its the age-old quandary of every organist and I just opened a BIG can of worms. We can play a million pieces during our careers but none seem to cause so much congregation-wide discussion as hymns. They are our bread and butter- the music that encourages the most participation and the most attention of anything we do. Even our guild's chaplain, the Rev. Dr. Thomas Troeger devoted last month's TAO article to hymns (hymn interludes, more specifically).
I am not an expert of any kind but I have always taken the approach that all hymn playing should begin and end with the text. Is that not the point? To sing the text? So, in preparing my two hymns for the CAGO exams, I have looked closely at the text and chosen 'treatments' I believe will benefit them and encourage an "enthusiastic congregation" to sing. My college organ professor, the very great Todd Wilson used to always tell us to "sing lustily!" when a colleague was playing a hymn. I've always taken that to be the goal: to have our congregations sing lustily. Is it not a thrill on Christmas Eve when everyone (Christ-Easters included) sing "O Come, All Ye Faithful" at the top of their lungs?? While we cannot achieve this level of enthusiasm every Sunday, we can at least play as if there is that lusty singing and maybe somewhere along the way, the congregation will join in our excitement.
To recap from an earlier post, the two hymns I will be playing are "Praise My Soul the King of Heaven" (Lauda Anima) and "Every Time I Feel the Spirit". The former will be quite straightforward. Since we are to play an introduction and two verses, I will take much of that material from the Accompaniment Edition of the 1982 Episcopal Hymnal. This features a very fine accompaniment and re-harmonization. This need only require practice for accuracy and playing security. A quick check through the text (as seen in the Revised Examination Hymn Booklet shows no phrasing difference between the two verses provided. This also simplifies things!
"Every Time I Feel the Spirit" presents, in contrast to the other, a whole different flavor of challenge. We are faced with a verse-refrain structure and not only do the sentence structures change between verses, we have to keep track of the occasional added note to compensate for added syllables. When it comes to approaching spirituals, start with the basics: play through the piece slowly, find the rhythm of the text and the rhythm of the piece. Do they match? Often a syncopation will signal an important moment in the text. For instance, we see a great deal happening on the "and" of the third beat. How will the congregation feel that, especially going from the introduction into the first verse? It is the same as good conducting: give the congregation a good third beat from which to bounce off and they will be perfectly in time, every time.
So we've begun the piece. The congregation is right on track with the refrain. We'll have this refrain three times. In practice, play with it. Find passing tones, a walking bass line, a pedal point... What are those tricks that you've been taught for hymn playing? Many of these apply to spiritual playing. Yet, none so much as rhythmic devices, however. Rhythm, especially in this hymn, drives everything. Imagine "Every Time I Feel the Spirit" slow- very slow. It could actually work! If the rhythm was convincing and the organ registration reflective, the "I will pray" text would have a whole new meaning. This is the power of rhythm.
I was about to type "if it were me" but then realized it is.....
So, since it is me, here is what I will do:
Introduction: refrain, forte registration
Refrain: straight, forte registration
Verse 1: straight, forte registration with good 16' stops to illustrate "fire and smoke"
Refrain: added interest in bass line, mezzo-forte
Verse 2: mezzo-forte, soloing out melody in right hand
Refrain: forte, lots of energy and with a few chord substitutions for interest.
That's the start of things. I will play with this and see what tweaks I'd like to make. We all have to start somewhere. There are a million ways to play every hymn. My hope only is that my thoughts have provoked ideas in you for your own hymn playing. Let your hymn playing reflect you; your own playing, personality, and tastes. But remember, at the end of the day, we are there to help them sing!
Tuesday, October 18, 2011
Saturday, October 15, 2011
4. Make your own motivation...
Let's face it: we all have busy lives. This is neither a new nor radical idea. But, when we make the decision to do something important, we do it. We make time for it... and I'm hoping to make this a "do as I do" situation. "Hoping" being the key word in that last sentence.
I've been doing really well practicing the Stanford and the Near- both really great pieces and harmonically very orchestral. The Bach, however, is proving a challenge. Don't get me wrong, I love Bach. I love playing it and performing it and practicing it, even. I just seem to be having trouble getting that book onto the music rack. I tell you this not to complain but because I promised an honest account of my journey to the CAGO and this is part of it.
Solution time.
I, despite my own hectic schedule, have put the Bach down as the Postlude tomorrow. Am I crazy? Probably, but that's a topic for another day! So... enough chatting. Off to work!
Next time: hymns. See you then!
I've been doing really well practicing the Stanford and the Near- both really great pieces and harmonically very orchestral. The Bach, however, is proving a challenge. Don't get me wrong, I love Bach. I love playing it and performing it and practicing it, even. I just seem to be having trouble getting that book onto the music rack. I tell you this not to complain but because I promised an honest account of my journey to the CAGO and this is part of it.
Solution time.
I, despite my own hectic schedule, have put the Bach down as the Postlude tomorrow. Am I crazy? Probably, but that's a topic for another day! So... enough chatting. Off to work!
Next time: hymns. See you then!
Thursday, October 6, 2011
3. But what to play?
It occurs to me that I haven't actually told you what I'm playing. A grievous oversight, to be sure!
I was really surprised looking at the repertoire requirements that I don't play any of the pieces! But, I am going to view this as an opportunity.... (you might have to remind me I said this in about four weeks when I'm feeling stressed out!)
From Group A, I'm playing the Praeludium of BWV 537. The directions say we can use any edition so I'm sticking with my handy Barenreiter edition; it hasn't steered me wrong, yet! The other choice from this group was Wer nur den lierben Gott lasst walten, BWV 647 from Schubler Chorales. This was a hard choice for me, since I adore the chorales. But, there are some really big stretches in Wer nur and I have some residual wrist damage from too many hours spent with Dupre's Opus 7 in grad school.... so in the interest of self-preservation I'm going with the Praeludium.
Group B gave me the choice of a Rheinberger fughetta or At Christmas-Tide, No. 1 by C.V. Stanford. This choice was also made for practical purposes: I would love to have more good Christmas music to play! I'm looking forward to learning this one.
In Group C, I could choose Wilbur Held's Simple Gifts, but I decided to go with Puer Nobis Nascitur, No. 10 by Gerald Near. I don't play any Gerald Near and so it will be a good chance to delve into a piece of his.
So. Bach, Stanford, Near. I think this will be a nice grouping. They allow you to choose what order to do them in, which I haven't figured out yet.
For the hymns, I have chose "Praise My Soul the King of Heaven" (LAUDA ANIMA) because it is one of my favorites and "Every Time I Feel the Spirit" (NO TUNE NAME). I will devote a later posting to the preparation of these hymns... lots to talk about there!
Until then, fair readers.
I was really surprised looking at the repertoire requirements that I don't play any of the pieces! But, I am going to view this as an opportunity.... (you might have to remind me I said this in about four weeks when I'm feeling stressed out!)
From Group A, I'm playing the Praeludium of BWV 537. The directions say we can use any edition so I'm sticking with my handy Barenreiter edition; it hasn't steered me wrong, yet! The other choice from this group was Wer nur den lierben Gott lasst walten, BWV 647 from Schubler Chorales. This was a hard choice for me, since I adore the chorales. But, there are some really big stretches in Wer nur and I have some residual wrist damage from too many hours spent with Dupre's Opus 7 in grad school.... so in the interest of self-preservation I'm going with the Praeludium.
Group B gave me the choice of a Rheinberger fughetta or At Christmas-Tide, No. 1 by C.V. Stanford. This choice was also made for practical purposes: I would love to have more good Christmas music to play! I'm looking forward to learning this one.
In Group C, I could choose Wilbur Held's Simple Gifts, but I decided to go with Puer Nobis Nascitur, No. 10 by Gerald Near. I don't play any Gerald Near and so it will be a good chance to delve into a piece of his.
So. Bach, Stanford, Near. I think this will be a nice grouping. They allow you to choose what order to do them in, which I haven't figured out yet.
For the hymns, I have chose "Praise My Soul the King of Heaven" (LAUDA ANIMA) because it is one of my favorites and "Every Time I Feel the Spirit" (NO TUNE NAME). I will devote a later posting to the preparation of these hymns... lots to talk about there!
Until then, fair readers.
Thursday, September 15, 2011
2. What does the CAGO require of you?
What you need to know a.k.a. "What this post lacks in amusement, it makes up for in information"
The first thing I found out is that you need to write to the National Headquarters to request an application. Luckily, the person I emailed is very kind and will accept my returning the application a little late... not that I'd recommend doing that... which leads me to:
TIP #1: As soon as you've decided to take the exam, write to: exams@agohq.org to get an application.
It is better to have it and change your mind than run into a problem. (This is one of those "do as I say, not as I do" moments... I'll try to keep those to a minimum!)
On to the requirements:
The first thing you learn from the requirements sheet is that the exam won't be judged by the people actually listening to it; they send it to National Headquarters and there two people will judge, presumably, all of the national CAGO exams. I like that! It makes me feel on equal level with everyone else taking the test.
On to the actual requirements:
The playing section:
- The playing section has me playing three pieces of repertoire and two hymns.
- There are six pieces of rep to choose from and a large booklet of hymns
TIP #2: When you write to get an application, go ahead and request a Hymn Booklet (which is a .pdf they will email to you) in the same email.
The "keyboard skills" section:
- This section can be broken down into four sections:
1. sight-read
2. harmonize
3. transpose
4. improvise
-Very happily, I discovered that I get 20 minutes to prep for parts 2-4 of this section. However, I imagine that those will be the shortest 20 minutes on the planet, so I am going to focus a lot of my time and attention to these sections.
So, friends, this is the bare-bones organization of the exam. I'll be back in a week or so and hit the ground running with preparations. From that point, I'll have about 7 weeks to prep. Wish me luck!
The first thing I found out is that you need to write to the National Headquarters to request an application. Luckily, the person I emailed is very kind and will accept my returning the application a little late... not that I'd recommend doing that... which leads me to:
TIP #1: As soon as you've decided to take the exam, write to: exams@agohq.org to get an application.
It is better to have it and change your mind than run into a problem. (This is one of those "do as I say, not as I do" moments... I'll try to keep those to a minimum!)
On to the requirements:
The first thing you learn from the requirements sheet is that the exam won't be judged by the people actually listening to it; they send it to National Headquarters and there two people will judge, presumably, all of the national CAGO exams. I like that! It makes me feel on equal level with everyone else taking the test.
On to the actual requirements:
The playing section:
- The playing section has me playing three pieces of repertoire and two hymns.
- There are six pieces of rep to choose from and a large booklet of hymns
TIP #2: When you write to get an application, go ahead and request a Hymn Booklet (which is a .pdf they will email to you) in the same email.
The "keyboard skills" section:
- This section can be broken down into four sections:
1. sight-read
2. harmonize
3. transpose
4. improvise
-Very happily, I discovered that I get 20 minutes to prep for parts 2-4 of this section. However, I imagine that those will be the shortest 20 minutes on the planet, so I am going to focus a lot of my time and attention to these sections.
So, friends, this is the bare-bones organization of the exam. I'll be back in a week or so and hit the ground running with preparations. From that point, I'll have about 7 weeks to prep. Wish me luck!
1. Let's start at the very beginning...
Yes, there will be multiple "The Sound of Music" references in this blog. You have been warned!
First thing's first: introductions. My name is Leslie Smith. I am an organist here in Connecticut and I have decided (at the gentle, nay, persistent prodding of fellow organists) to do the "Colleague" level of AGO Certification.
"Why?" you might ask. Well, partly because it is a really great way to hone your skills, not to mention be a bigger presence in the AGO and mostly because yours-truly here is your very own guinea pig. I am here to show you how I did it and provide some insight, encouragement and helpful tips along the way.
Second, a small confession. I am technically "over-qualified" for the Colleague level. I graduated with a Masters in organ performance a year ago which means I should technically be doing the Associate level. But, fancy-pants graduate students don't need any help with studying and the chances are that they have already passed a certification level or two.
So here I am, your friendly-neighborhood-study-partner. I hope my experiences can be helpful and shine some light on a subject that from the outside can seem quite daunting.
Come along on my journey, won't you?
First thing's first: introductions. My name is Leslie Smith. I am an organist here in Connecticut and I have decided (at the gentle, nay, persistent prodding of fellow organists) to do the "Colleague" level of AGO Certification.
"Why?" you might ask. Well, partly because it is a really great way to hone your skills, not to mention be a bigger presence in the AGO and mostly because yours-truly here is your very own guinea pig. I am here to show you how I did it and provide some insight, encouragement and helpful tips along the way.
Second, a small confession. I am technically "over-qualified" for the Colleague level. I graduated with a Masters in organ performance a year ago which means I should technically be doing the Associate level. But, fancy-pants graduate students don't need any help with studying and the chances are that they have already passed a certification level or two.
So here I am, your friendly-neighborhood-study-partner. I hope my experiences can be helpful and shine some light on a subject that from the outside can seem quite daunting.
Come along on my journey, won't you?
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