Page 4 - Organ etudes book one

THE COMPLETE CHURCH ORGANIST: ORGAN ÉTUDES BOOK ONE PREFACE
INTRODUCTION
Technique is not really an optional extra on any instrument. It can be acquired by doing plain technical exercises, or it can be learnt circumstantially as elements of it are needed – or both. These pieces take at least one element of playing and engage with it, offering multiple opportunities to practice that skill.
CONCEPT COMPOSITIONAL STYLES
These are blatant pastiches, borrowing heavily from the styles and mannerisms, and sometimes even the devices, of real composers. In case someone were to give them an airing in worship, I have listed the appropriate situation for each one - but they were not conceived as service-music as such. That said, each is based on a hymn or plainsong theme, and each explores the underlying meaning or concept in expressive, or representational, ways. There is work to do in presenting these aspects, as well as in technique.
TECHNICAL CONTENT
The topics tackled are listed on the Titles page, and the level of difficulty should be within the skillset of someone of about Grade 6 piano standard.
TO THE STUDENT WORKING WITHOUT A TUTOR
A word of warning: the fingerings and footings are intricately bound up with the efficacy of the studies. Skimp on these at your peril! They deliver brain-training as well as physical development, and are not unattainable; though they may be utterly alien at first, especially if you have had good piano tuition and learnt to do things as a pianist would and should. The organ and the piano share only one thing: the layout of the keys. All the other expressive and mechanical elements are distinct, and they call for two distinct, and non-competitive, techniques. Vive la difference!
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