Central Carolina AGO Workshop January 19, 2019

I was excited to escape the winter blues by accepting an invitation to travel to Raleigh, NC for the Central Carolina Chapter of the AGO 2019 SmORGANsbord which included a dynamic inspiring concert by Dr. Carol Williams, a workshop full of wonderful information on hymn playing by Richard Van Auken and a workshop on Orchestral Voices in Worship by myself!  I was concerned about travel issues with the government shutdown and the weather, but appreciated the prayers of all, and the weather window which allowed me to get there and back safely with little hassle. 

What a GREAT attentive group of musicians I enjoyed for my segment-folks from all denominations unified by their desire to learn more about selecting and implementing a larger variety of sounds in leading worship and making music from the organ.  Here is some of what we experienced together:

I played Charles Callahan’s Movement Four from Hyfrydol Variations on the Flute Celeste as notated, then a more expansive orchestration using sounds from a MIDI MODULE and the Organ Library including:  Goblin, Electric Piano, Glokenspiel, Chimes, Zimbelstern, Handbells.  Participants noted the ease of the transformation as I  simply played the score as noted with the addition of these unique voices.

We discussed breath, heartbeat, phrasing, contrast, life cycle and how sub-consciously we are aware and comfortable with music which follows this natural order.  We know that composers and musicians consciously and artfully alter this cycle to initiate effects and desired responses. 

We discussed “TEN PISTONS” for basic comfortable settings which can be used to negotite service playing and to build other registrations.  In doing so, we discussed traditional organ registrations, schools of organ tonal design, and how the traditional organ stops SUPPORT the addition of Orchestral Organ Voices in orchestrating sounds for worship and concert.  We demonstrated how to select MIDI sounds and store to pistons on this instrument, noting that different manufacturers implement this differently but the basic function selecting a sound, combining with traditional organ voices and storing on a combination piston is the same. 

We demonstrated features found on today’s digital organ which enable us to create “authentic eclectic” performances such as:  temperments, tuning, winding, solo melody couplers, bass couplers, sound module controls. 

We talked about using traditional organ registration to understand and approach using orchestral sounds, i.e. a FLUTE CELESTE counterpart in MIDI may be Warm Pad, Choral AAhs, Goblin.  An orchestral oboe could be substituted for a Hautbois to add expression to a performance of a hymntune.  String Celestes can be combined with appropriate Orchestral String ensembles. 

When we orchestrate we should look for sounds which make sense:  i.e. Introducing “The Lord is My Shepherd” with a shephard sound such as a Flute, or Oboe.  Introducing a chant based hymn “O Come Emmanuel” with a Choral or Vocal Aah and chime”.  Playing a Reformation Chorale like “A Mighty Fortress” on strictly Pipe Organ Voices, NO MIDI or Orchestral Voices at all.

We remembered composers throughout history explored music.  JS Bach traveled to Italy and heard Vivaldi’s music and transcribed some of the concertos to be played on organs!  Stokowski transcribed JS Bach’s Toccata and Fugue in D Minor for orchestra to be used in Disney’s Fantasia.  Through time, symphonies have been transcribed and played on organs and provided LIVE music for folks who at the time would not have access to these great treasures.  Organists need to make time to re-capture the tradition of exploration and privilege of performing live music to enhance people’s lives.  Our performances reflect our lives and the richness of the many gifts we have been given. 

The organ is both a “solo” and an “ensemble” instrument.  We should not “shut our lids” at the sight of a “praise band” (or any music foreign to us)  but seek to learn from them as well as share our love for music and expertise with them.  The additional of orchestral sounds to the organ brings greater ensemble access to the organ with orchestras, concert bands, choirs, chamber ensembles, worship bands, folk ensembles, solo instrumentalists, handbell choirs, children’s groups. 

The world’s knowledge is now at our fingertips with our smart phones and computers.  We can instantly search for “Bach’s Organ” and find specifications and listen to performances of Silbermann and Schnitger organs on Youtube.  We can transfer this knowledge to the instruments we have and seek to recreate authentic eclectic performances of music the way the composers intended. 

Available time and fear are our biggest threats.  Set goals which are realistic, i.e. 4 new sounds or concepts each month, or one new sound per service you play.  If you only have one hour on Saturday to practice, then plan ahead and use that time wisely.  Write brief notes for the bulletin announcements, or church newsletter or church web-site to share your knowledge and vision of the pieces you are playing with the congregation.  Opening this channel of communication connects you with those who will then get to know you and appreciate your desire to provide quality music and gains you a supporter! 

Thanks to all who attended and for the privilege of speaking to you.  If you have any questions, or if you have and comments or insights in what we discussed or how our conversation might assist you I would love to hear from you.  Please use the form at the back of this web-site to be in contact.

Rodney B.