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ISSUES OF TEACHING TO PLAY THE ORGAN

PRIMARY BASICS OF TECHNOLOGY (MECHANICS)
The methodology of teaching organ playing follows from the very concept of polyphony, the basis of technique - from the internal logic of the polyphonic process. Initial skills consist in mastering the techniques of playing manuals and pedals (that is, the foot keyboard).

Manuals, that is, manual keyboards, are identical for piano and organ. Thus, in general terms, the performance of two-voice is identical. But the more complex the polyphonic fabric, the more pronounced the differences. The student approaches the organ specifics only after getting acquainted with all the difficulties that arise in the performance of two-voice. In the transition to triphony, specific organ difficulties arise. Elementary piano techniques here are no longer sufficient. From the moment of distinguishing between piano and organ techniques, the study of the organ itself begins.

The difference between the organ triphony and the pianoforte consists in the requirement of an absolute legato. Subsequently, it is the deviations from this legato that will acquire special interest for us. But at the beginning of learning, the exercise of absolute legato is a necessary prerequisite for organ polyphony. The implementation of absolute legato on the organ requires the use of a number of special techniques. I will list them:

1) fingering without the first finger (ascending and descending movement);

2) sliding with all fingers from black to white key and from white to white;

3) sliding the first finger from the white to the black key;

5) change of fingers on one note, double and triple shifts;

6) jumps replacing legato.
Stretching plays an important role. It is often objected to when playing the piano, as it weakens {84} activity; stretching is necessary on the organ. It is important to make a diagnosis from the very beginning, that is, to determine the missing movements in the student, and to develop these movements with appropriate exercises.

The organ legato develops on Bach's clavier works performed on the piano. Only having mastered the techniques of legato, one can proceed to proper organ literature.

As for the pedal technique, it is developed in three parts. If any two voices can be played with two hands on two manuals, then only the appearance of a third voice will require the addition of a pedal.

Mastering pedal technique does not begin with exercises for one pedal, but immediately with Bach's polyphonically complex sonatas, which are considered one of the most difficult among Bach's works. The proposed system has a historical justification: the sonatas were written by Bach for his students, it was on them that the technique was developed. But even today they are a necessary pedagogical aid for every organist. Technically difficult passages are actually easy to play with one foot.

Moreover, individual passages from Bach's most difficult fugues, played at the end of the entire course of study, can be given in the form of exercises for beginners. Difficulty appears only when connecting independent movements, connecting several, albeit very simple lines. Reger said that trio pedal etudes are an excellent tool for awakening and strengthening the understanding of polyphony, which is the inner nerve of a truly organ style. He argued further that the technical goal of all teaching organ playing is to achieve independence of both hands, one from the other, and from leading the pedal voice.

Thus, only the mastery of polyphonic fabric is the key to acquiring technical skills. The difficulty of independent movements is precisely the difficulty of realizing their unity. This is the fundamental principle of organ technique, which is applicable not only to pedal technique, but also to manual technique. And here, along with the adaptation of the hands and the development of movements, the combinational abilities of the student are mobilized, including his ability to recognize complex polyphonic movements.

Work during the first months is distributed as follows. Bach's three-part inventions are played on the piano. Separate techniques of the three-part game are developed by exercises. At the same time, pedal technique was acquired on Bach's sonatas. Pedal exercises are passages from other works by Bach. After having gone through several inventions and several sonatas, the student has the opportunity to perform three voices with his hands, and the fourth with a pedal. This makes it possible to move on to four-voice works. Bach's chorales and the lightest of the preludes are studied {85} and fugue. In the first months main job is to master the schema. As you master the scheme, there is a need to cultivate performing techniques.
PRINCIPLE OF PERFORMANCE (ORGANICS)
The principles of organ performance stem from the essence of polyphony, from the dynamic processes hidden in it.

The performance is the new birth of the work. Consequently, the performer must awaken in himself those forces that give rise to the work. This immense task facing any performing school becomes especially acute when applied to the organ, because it is not so easy to penetrate into the sphere of forces that create polyphonic music, to find the nerve of polyphony. We have lost a vivid sense of polyphony, if we compare it with Bach's time, the greater the responsibility falls on the school, which is called upon to develop in the student a real understanding of polyphonic, and thereby organ music.

Without delving into this vast topic, I will only point out a few important points. First of all, we are talking about the development of melodic flair, moreover, to clarify: the flair of polyphonic melody. Understanding the polyphonic line is due to the presence of a special kind of energy in the performer. This melodic energy is by no means identical with general melodic flair or musicality in general. Of course, melodic energy is one of the elements of musical talent. However, this element is not currently central.

One can imagine a modern practical musician, in whose talent melodic energy plays a secondary role (for example, in comparison with the sense of rhythm, timbre, color, etc.). But it is precisely without this ability that the performance of polyphony is impossible.

The feeling of a polyphonic line develops as a result of long-term communication with musical works that carry "linear energy". If we talk about the cultivation of this talent, then the constant linking of melodic processes with mechanical or mental processes matters. It is possible to arouse in the student with leading indications an active desire to penetrate into the sphere of expressive plasticity, expressive dynamics. In this case, musical talent develops in a roundabout way, through the sphere of dynamic and plastic images. I will also point out that in order to develop a melodic instinct in an organist, it is not necessary to limit oneself to one organ. On the contrary, a constant alternation of lessons on the organ with lessons on the piano is desirable. After all {86} the organ is devoid of dynamic shades, thus one of the most accessible manifestations of melodic energy - amplification and weakening of sound - disappears. It seems quite logical to begin the development of melodic flair with monophony, namely, with instrumental monophony. I mean Bach's sonatas for solo violin. Performing them on the piano presents no technical difficulties and allows you to focus all your attention on the development of a polyphonic line. At the same time, the student goes beyond the usual definition of polyphony, he reaches its origins, to linear energy.

Let us turn to the means that the organ gives to the performer. It is necessary to delimit immediately from the registration area. To a certain extent, this art is abstracted from the process of performance: you can make a registration without playing the organ, and, conversely, without knowing how to register, perform a piece using someone else's registration. Registration is a kind of cooperation with the author. It ends before the performance has even begun. Being the last final link in the fixation of a work, it does not belong to the field of performance directly created on the stage. (Registering is discussed in more detail later.)

So, digressing from registration, let's focus on the principle of organ performance, on the means that make it possible to perform creative work within the limits of one color. What is the formative beginning of an inert mechanical organ sound?

The organ is an instrument that excludes the possibility of dynamic shades. The factor that replaces their absence is the rhythm, the relationship is temporary. (B. L. Sabaneev * said that organ performance is based on chronometry.) Being the only creative principle, rhythm acquires a very special meaning. However, one cannot imagine things in such a way that of the two elements of piano performance - rhythm and dynamics - the latter disappears, and only rhythmic life remains. On the piano, the creative tasks of performance are distributed in a variety of ways: both of the marked principles act either separately or combined, while on the organ their ratio is completely different. The loss of the dynamic factor places a great responsibility on the shoulders of the rhythm. If a completely correct performance is possible on the piano, without any agogic shades that can be accounted for, then this is impossible on the organ.

Outlining in general terms the main means of organ performance, Special attention therefore, let us give rhythm, and in its detailed, smallest manifestation.

1. The first group of techniques includes all deviations from the metric grid.

A) First of all, these are agogic shades. Them {87} the exclusive meaning is clear without much explanation. I will only note that by means of agogics it is possible to give the listener the impression of an accent, as well as short dynamic waves adjacent to the accent. Any rhythmic expansion is perceived as an amplification of the sound.

B) A specific technique is the rhythmic struggle of two voices or two groups: they go in parallel in a different rhythm.

C) Finally - a phenomenon that is called rhythmic pulse, rhythmic pressure and weakening. This phenomenon borders directly on the feeling of large unifying bonds ("sense of form").

2. The second group includes all techniques based on shortening and lengthening the note, even if without changing its metrical value. Two sounds written as adjacent can be compared in an infinite number of ways: they can cover each other, they can pass one into the other exactly, or they can be separated by a small pause; they can only be realized as points separated by measured silence. All these deviations are discussed. We list the most important of the techniques.

A) Any break, emphasizing the entry of the sound following it, contributes to the impression of an accent, therefore, in order to make an accent at a given point, it is necessary to make a break before it.

B) The gap allows you to organize sounds in different ways: what is separated by a gap refers to two different rhythmic formations; that which is enclosed between two discontinuities appears as a unity. Thus, breaks allow the formation of motifs, phrases, sentences, etc.; they emphasize moments of identity, comparing them as unity. However, a curious contradiction between the two listed discontinuity functions is revealed. Let us pay attention to the off-bar motifs, because they, as carriers of a force directed towards development, play an absolutely exceptional role in Bach's music. In order to emphasize an off-bar motif (let's take the classic off-bar quart as an example), the performer usually seeks to give it some energy. We will achieve this by emphasizing a strong time, that is, by making a gap in front of it. On the other hand, emphasizing the motive, one should strive to isolate it from the surrounding tissue. To do this, make a gap around the edges. So, the gap before the accent destroys the very existence of the motive as a unity, while the binding of the motive as a unity destroys its main action - the out-of-bar essence. This is a contradiction that has no common solution, is the main problem of organ phrasing. When solving this issue, of course, a number of other factors are taken into account: melodic, harmonic, agogics, context. For the most part, the correct solution is to alternately apply {88} the two methods mentioned. This leads to a complex and lively system of interruptions.

C) The third technique is the use of legato and staccato. It is clear that there are infinite gradations between these two kinds. All of them, except, perhaps, the point staccato, are applicable to the organ.

It is used legato and staccato for the purpose of contrast, distinction, distribution. Can contrast: the smallest elements within the motif; motives with their surroundings; two simultaneous lines - one in relation to the other, can finally contrast close-ups. Here, the technique of highlighting harmonic moves by means of staccato against the background of diatonic performed by legato is especially often used.*

D) Let us point out a particularly important resource - the so-called organ touch. Its essence lies in the fact that the whole countless palette of transitions from staccato to legato and vice versa is applied on large lines like paint, like a blow, like a manner. This touch, based on the smallest changes in the way neighboring sounds are connected, makes up a completely individual and characteristic manner for the performer. Thus, it can be seen that, on the one hand, it would seem that the initial element of the fabric, one note, actually breaks up into two moments: sound and silence. On the other hand, these two extensive quantities are synthesized into one element - sound as an element of perception, synthesized into a quality phenomenon. All the above-mentioned methods of agogics and phrasing are perceived not as a deviation from the meter and not as a series of breaks, but only as clarity and expressiveness of the game. When performed well, we never hear phrasing - we hear a phrase. We also perceive the manner of linking two sounds as sonority, as color, as timbre. On the same registration, one plays softly, the other plays hard. Moreover, the manner of carrying out a certain method of striking is an expressive factor. Persistent conduct of the manner of phrasing gives the impression of severity, severity. On the contrary, the free conduct of the same manner gives the impression of freedom, lightness.

Looking back now at the path we have traveled, we see how far the organ performance is from the elementary legato, from which the course began. If at the beginning it was said that only the absolute legato allows one to create a fabric that can be qualified as polyphonic, now we come to an extended interpretation of the concept of legato. Along with the real legato, an illusory, psychological legato appears.

A monotonous series of sounds, taken in a certain way, creates the impression of legato. The uniformity and evenness of the sounds separated from each other give rise to the feeling of a continuous series. Now, in relation to this conditional legato (in fact, non legato), all deviations are made. Interestingly, not only in impression, but also in the way {89} performance, non legato, playing the role of legato, turns out to be associated with elementary legato. In the game of great virtuosos, complex polyphonic links performed non legato are played with the same fingering as absolute legato. This leads to the conclusion: non legato, as a substitute for coherent play, is absolute legato, raised by a hair's breadth from the keys. First, an exact and absolute connection is developed, then this connection rises, leaving even gaps between adjacent sounds.

Why is it necessary to use this approach?

The entry of a sound after silence is the accentuation of the sound. As each sound enters, the whole line is emphasized, and a smooth non legato is perceived as a particularly clear legato.

Another reason is purely acoustic.

The organ sounds bad in small rooms. In the absence of proper resonance, the sounds "stop" instantly, which gives the impression of mechanicalness and immobility. In large rooms with excellent resonance, each sound is accompanied by a faint shadow adjacent to it, which gives a special charm to the sound of organs in cathedrals. On the other hand, the echo of large rooms merges neighboring sounds, superimposes one on another. Smooth non legato compensates for this floating sounds. So the echo softens the transition from one sound to another, and non legato gives clarity to this softened transition. I also note that each organ and each room requires a special coefficient of evenness.

Now, having enumerated the main techniques of organ performance, let us point out the features of the positioning of the hand. The simplicity of this question is back side extraordinary complexity of the machine. In a vocal performance, for example, there is no machine, the more difficult the question of the technical school of singing, since the performer's body must reproduce the sounding machine in itself. On the violin, the task is simplified: a sounding body and a resonator are given; the performer gives intonation, strength and timbre. On the piano, the machine becomes more complicated: intonation is already fixed in it, only the force of impact can be varied.

The extraordinarily complicated machine of the organ realizes by its own means both intonation, and strength, and timbre. What falls on the shoulders of the performer? It has already been pointed out - only the rhythm. On the other hand, organ sound is motionless, mechanical and unchanging. Without yielding to any softening finish, he brings to the fore the reality of division, attaches decisive importance to the slightest temporal relationships. But if time is the only plastic material of organ performance, then the main requirement of organ technique is the chronometric accuracy of movements.

What style of impact gives the greatest accuracy? The manner associated with the least amount of movement. Saving {90} movements, reducing them to a minimum, makes it possible to transmit an order to the machine with the greatest speed. If on the organ it is not the force of the blow that is important, but only the moment of the blow, then none of the movements that give force - raising the hand or raising the finger - makes no sense. Moreover: each extra movement reduces the accuracy of the order. Thus, in organ performance, the fingers are constantly touching the keys, ready to instantly transmit an order to them. To clarify the movement, it is desirable to keep them constantly at the ready. Only by preparing the movements, we give them the necessary accuracy.

If violinists talk about the formation between the right hand and the bow of the "joint of the game", if they say that the violinist with the violin is one organism, then about the organist harnessed to the organ entirely with legs and arms, it is appropriate to say: it must be motionless, like a coordinate system. If the quality of the beat is essential for the pianist, then it would be more correct for the organist to note the quality of the order. However, it is necessary to cultivate not only the command to press the key, but equally the command to release it. The given image of the coordinate system finds its correspondence in the setting of the feet: the organist does not look at the feet when playing, he keeps his knees together all the time, measuring the distance on the foot keyboard by means of the angle formed by the feet.

Obviously, the more motionless this system, the fewer unnecessary movements the legs make, the more accurate the entire apparatus.

Stillness is the basis of the production, from which the organist subsequently departs. The economy of movement is important at the beginning, when the study of "time and space" takes place. Once space and time are studied, there is no need for immobility. The main role is acquired by artistic moments. The work consists in developing automatic movements corresponding to a given plan. Then a new method of working may arise - the exaggeration of movements. Immobility should not be confused with tension. Virtuosity on the organ is possible only with the complete liberation of the whole body. It should be preferred to work on large levers. Not only the feet move, but the whole leg.

Let us once again emphasize the thesis about the prevailing importance of rhythm in organ performance. All the more important is the question of developing a sense of rhythm.

It is well known that rhythm is the least developed ability. By this ability, however, is meant a sense of meter and metric proportions. We are not dealing with the development of the meter, but with the development of an intuition for deviations from it. These deviations are generated only by creative activity. Can rhythmic initiative be awakened to development?

The initiative is developed by the very communication with musical works and experience, but the development of {91} a number of associations. Rhythmic initiative is a consequence of individual properties, it is one of the deepest manifestations of personality. Therefore, it is the development of rhythm that is most achieved by a roundabout way. It is necessary to embrace the entire branch of inner life, remembering that the rhythmic initiative is rooted very far from external musicality and, perhaps, is not connected with it at all. Without even trying to define this difficult path, I will note one initial point. If the student is technically strong enough, it is necessary to try to destroy in him the usual and unusually strong association of a musical work with musical notation. It is precisely the strength of this association that explains the helplessness, at the first need, to break away from this recording in order to fulfill a rhythmic shade. It is necessary to create in the performer a constant idea that a musical notation is a trace of a certain movement, a trace of the influence of a force, the struggle of this force with inertia. First of all, it is necessary to bring to life the whole mass of dynamic representations.

I will point to the simplest case. Often, at the end of a play or "paragraph", it is important to find out whether the action of the force stops or it is inhibited. In the first case, the force ceases to act instantly, this is the meaning of the end. In the second case, we are dealing with gradual deceleration. The same with the introduction of some melody. In some cases, when the mass element of inertia is strong, the movement develops according to the physical law of gradual acceleration - we demand a smooth entry. In other cases, activity erases the feeling of mass and we demand an accentuated introduction.

Let me also pay attention to the mechanical transcription of the concept of tempo modification. A certain speed is a certain position of the lever on the arc of speeds, a change in speed is the movement of the lever. However, at the same position of the lever, at the same speed, the nature of the movement changes depending on the slightest change on the side of the road. This is tempo modification.

Finishing with this remarks about the performance, in the end I will add that often the understanding of polyphony can be significantly developed by pointing out the meaning, the expression of the polyphonic line. The introduction of the following terms is useful here: rise, jump, fall, heaviness, inertia, soaring, perseverance, confusion. Also, expression in relation to the line can be explained in terms of: expect, follow, lead, resist, repeat, delay, help, etc.

Above, more space was given to issues of performing creativity than to technical issues. However, it does not follow from this that their relationship in teaching is the same. On the organ, the slightest inaccuracy leads to catastrophic {92} consequences. Therefore, in matters of technology, there is no punctuality and pedantry that would be superfluous. As far as creative work is concerned, it goes without saying that extreme caution is necessary, I would say - stinginess of instructions.

PRIMARY BASICS OF TECHNOLOGY (MECHANICS)

The methodology of teaching organ playing follows from the very concept of polyphony, the basis of technique - from the internal logic of the polyphonic process. Initial skills consist in mastering the techniques of playing manuals and pedals (that is, the foot keyboard).

1) fingering without the first finger (ascending and descending movement);

2) sliding with all fingers from black to white key and from white to white;

3) sliding the first finger from the white to the black key;

5) change of fingers on one note, double and triple shifts;

6) jumps replacing legato.

Stretching plays an important role. It is often objected to when playing the piano, as it weakens {84} activity; stretching is necessary on the organ. It is important to make a diagnosis from the very beginning, that is, to determine the missing movements in the student, and to develop these movements with appropriate exercises.

The organ legato develops on Bach's clavier works performed on the piano. Only having mastered the techniques of legato, one can proceed to proper organ literature.

Work during the first months is distributed as follows. Bach's three-part inventions are played on the piano. Separate techniques of the three-part game are developed by exercises. At the same time, pedal technique was acquired on Bach's sonatas. Pedal exercises are passages from other works by Bach. After having gone through several inventions and several sonatas, the student has the opportunity to perform three voices with his hands, and the fourth with a pedal. This makes it possible to move on to four-voice works. Bach's chorales and the lightest of the preludes are studied {85} and fugue. In the first months, the main work is to master the scheme. As you master the scheme, there is a need to cultivate performing techniques.

PRINCIPLE OF PERFORMANCE (ORGANICS)

The principles of organ performance stem from the essence of polyphony, from the dynamic processes hidden in it.

Outlining in general terms the main means of organ performance, therefore, we will pay special attention to rhythm, and in its detailed, smallest manifestation.

1. The first group of techniques includes all deviations from the metric grid.

a) First of all, these are agogic shades. Them {87} the exclusive meaning is clear without much explanation. I will only note that by means of agogics it is possible to give the listener the impression of an accent, as well as short dynamic waves adjacent to the accent. Any rhythmic expansion is perceived as an amplification of the sound.

b) A specific technique is the rhythmic struggle of two voices or two groups: they go in parallel in a different rhythm.

c) Finally - a phenomenon that is called rhythmic pulse, rhythmic pressure and weakening. This phenomenon borders directly on the feeling of large unifying bonds ("sense of form").

a) Any break, emphasizing the entry of the sound following it, contributes to the impression of an accent, therefore, in order to make an accent at a given point, it is necessary to make a break before it.

b) The gap allows you to organize sounds in different ways: what is separated by a gap refers to two different rhythmic formations; that which is enclosed between two discontinuities appears as a unity. Thus, breaks allow the formation of motifs, phrases, sentences, etc.; they emphasize moments of identity, comparing them as unity. However, a curious contradiction between the two listed discontinuity functions is revealed. Let us pay attention to the off-bar motifs, because they, as carriers of a force directed towards development, play an absolutely exceptional role in Bach's music. In order to emphasize an off-bar motif (let's take the classic off-bar quart as an example), the performer usually seeks to give it some energy. We will achieve this by emphasizing a strong time, that is, by making a gap in front of it. On the other hand, emphasizing the motive, one should strive to isolate it from the surrounding tissue. To do this, make a gap around the edges. So, the gap before the accent destroys the very existence of the motive as a unity, while the binding of the motive as a unity destroys its main action - the out-of-bar essence. This contradiction, which has no general solution, is the main problem of organ phrasing. When solving this issue, of course, a number of other factors are taken into account: melodic, harmonic, agogics, context. For the most part, the correct solution is to alternately apply {88} the two methods mentioned. This leads to a complex and lively system of interruptions.

c) The third technique is the use of legato and staccato. It is clear that there are infinite gradations between these two kinds. All of them, except, perhaps, the point staccato, are applicable to the organ.

d) Let us point out a particularly important resource - the so-called organ touch. Its essence lies in the fact that the whole countless palette of transitions from staccato to legato and vice versa is applied on large lines like paint, like a blow, like a manner. This touch, based on the smallest changes in the way neighboring sounds are connected, makes up a completely individual and characteristic manner for the performer. Thus, it can be seen that, on the one hand, it would seem that the initial element of the fabric, one note, actually breaks up into two moments: sound and silence. On the other hand, these two extensive quantities are synthesized into one element - sound as an element of perception, synthesized into a quality phenomenon. All the above-mentioned methods of agogics and phrasing are perceived not as a deviation from the meter and not as a series of breaks, but only as clarity and expressiveness of the game. When performed well, we never hear phrasing - we hear a phrase. We also perceive the manner of linking two sounds as sonority, as color, as timbre. On the same registration, one plays softly, the other plays hard. Moreover, the manner of carrying out a certain method of striking is an expressive factor. Persistent conduct of the manner of phrasing gives the impression of severity, severity. On the contrary, the free conduct of the same manner gives the impression of freedom, lightness.

Why is it necessary to use this approach?

The entry of a sound after silence is the accentuation of the sound. As each sound enters, the whole line is emphasized, and a smooth non legato is perceived as a particularly clear legato.

Another reason is purely acoustic.

Now, having enumerated the main techniques of organ performance, let us point out the features of the positioning of the hand. The simplicity of this question is the other side of the extraordinary complexity of the machine. In a vocal performance, for example, there is no machine, the more difficult the question of the technical school of singing, since the performer's body must reproduce the sounding machine in itself. On the violin, the task is simplified: a sounding body and a resonator are given; the performer gives intonation, strength and timbre. On the piano, the machine becomes more complicated: intonation is already fixed in it, only the force of impact can be varied.

Obviously, the more motionless this system, the fewer unnecessary movements the legs make, the more accurate the entire apparatus.

Let us once again emphasize the thesis about the prevailing importance of rhythm in organ performance. All the more important is the question of developing a sense of rhythm.

Let me also pay attention to the mechanical transcription of the concept of tempo modification. A certain speed is a certain position of the lever on the arc of speeds, a change in speed is the movement of the lever. However, at the same position of the lever, at the same speed, the nature of the movement changes depending on the slightest changes in the slope of the path. This is tempo modification.

REPERTOIRE

The work plan for the first months is outlined. In the future, the main efforts are directed to the study of Bach's works in full, which will serve as the main axis for mastering the art of playing the organ.

After the student has sufficiently mastered the music of Bach as the basis of organ performance, a concentric advance begins: on the one hand, towards his predecessors, and on the other, towards the composers of the 19th century. Following Bach, Buxtehude and Mendelssohn are being studied. Then we move on to Reger and Frank and modern literature, and on the other hand we come to the 17th and 16th centuries to the German, French, Italian and Spanish authors of the 16th and 17th centuries. This is how all organ literature is mastered, from its inception to the present day.

During the training period, work continues on hand technique. Particularly useful for the organist are the exercises of Gedicke, Brahms, the Czerny school of legato - staccato, the Karg-Ellert school for harmonium.

If pedal exercises do little for a beginner, since this technique requires, first of all, the independence of the legs, then for a young artist who already owns such independence, exercises that develop lightness and expressiveness of the pedal are quite appropriate.

The quantitative minimum of pieces that a student of the organ must go through is approximately the following: 4 Bach sonatas (preferably 6), 15 three-part inventions, 3 preludes and fugues of W.T.K., 6 legato and staccato etudes, 25 Bach chorales, 15 preludes and fugues and 2 sonatas by Mendelssohn, 2 preludes and fugues by Buxtehude, 5 pieces by Bach's predecessors, 3 pieces by Frank, 5 pieces by Reger, etc. - up to contemporary Soviet and foreign authors.

The above list is minimal. Substitutions are possible in it (for example, Widor, Liszt are not mentioned, which can be included instead of one of the pieces by Mendelssohn, Brahms or Reger), as well as an expansion of the repertoire. Only the main foundation of the artistic heritage is indicated, on which the teaching of playing the organ is based.

REGISTRATION

Registration is the area of organ art, in which the discrepancy between the judgments of specialists and that mass of listeners who are not organists is most clearly manifested.

In order to properly approach the problem of registration, it is necessary to dispel common prejudices and misconceptions. Noting in them what is the fruit of ignorance, one should still look at the reasons due to which such incorrect, from the point of view of specialists, judgments persist.

The first thing one hears in reviews of the organist's performance is remarks about registration. Incomparably less is said about rhythm, phrasing, a sense of form - these qualities are usually not discussed. This increased interest in registering leads to the misconception that the most difficult thing in organ playing is the ability to distribute and "stretch" the registers. Assessing the technical virtuoso achievements of the artist, the unenlightened listener does not notice his truly enormous technical work and notes in his mind only the control of the levers of the registers.

In this regard, I will cite an excerpt from a review by a German music critic of the early 19th century (the review was written for a concert by Max Reger), which says: “The listeners can be divided into two groups. The first group includes those who really want to listen to music. To the second - those who want to please themselves only with colors and the game of registers. It is this second group that makes up the vast majority of listeners... Why be surprised if many organists are not so much concerned with producing genuine music as with striking the crowd with colorful effects and making them think that they are listening to music, when in fact in fact, she listens not to music, but only to the play of colors.

Where do such misconceptions come from?

In his desire to evaluate organ performance, the listener, far from the organic foundations of this art, tends to project it onto more familiar phenomena. He imposes his perception on the schemes of orchestral and, most often, piano art. This is where misconceptions come from. In addition, for auditory perception, registration is the most prominent factor, while for someone who feels the internal structure of what is being performed, registration is relegated to the background and becomes one of the means of embodying the composer's and creative and performing intentions.

The true nerve of organ art is plasticity within one paint. The means of this plasticity are rhythm, agogics, accentuation. What place will take then registration? Is it possible {94} talk about "the art of registering" at all? It does not exist, just as the "art of making shades" does not exist on the piano. Is it possible to say about a pianist that he has “good shades”? The qualities of a pianist to be assessed are a sense of form, melodic talent, a sense of color, and emotional impulsiveness.

The art of "making shades" should be discussed according to each of these points separately, and for any of them an independent answer is possible. The “art of shades” as a whole is not subject to a single assessment. Common to this area are:

1) technical perfection or imperfection of the apparatus that produces shades (whether the pianist knows how to amplify and attenuate the sound), 2) a statistical fact - the number of shades, taking into account their typicality for a given performer and a given style.

With the art of organ registration, the situation is exactly the same. Registration is the realization of various creative impulses, and therefore making judgments about it as a whole is by no means always possible.

As for the first of the two criteria common to the entire region, it does not apply to registration: the technical difficulty in pulling registers is not a problem worthy of attention. In passing, I note that it is not at all necessary to play without an assistant. Of course, it is more convenient for the organist to do this himself, but if the registration is complicated and requires help, then the refusal of an assistant should be regarded as a pseudo-virtuoso trick that has absolutely no aesthetic value.

One day, one of the greatest European organists of the 20th century, performing some difficult piece, changed the registers himself with amazing dexterity, which amazed the group of amateurs around him. One of them asked the virtuoso: “Tell me, what should be done to develop such dexterity in managing registers”? This was followed by the answer:

"Go home and practice piano technique, the rest will come out somehow."

As for the second of the points mentioned above, that is, the statistical accounting of the phenomena of registration, it will only be possible to establish that the organist BUT changes registers often, and the organist B rarely. But what is an advantage in this case, and what is a disadvantage - it is impossible to determine outside all other aspects of performance.

Having now limited the very concept of registration and eliminated its usually exaggerated interpretation, let us consider its positive meaning. First of all, the performer is not the creator of the registration to the extent that it is usually believed.

As for the authors closer to our time, they mostly indicate registration, and the performer only needs to apply these indications (although often stingy {95} and indefinite) to the instrument that he currently has. True, the music of Bach, his predecessors and contemporaries is extremely meager in relation to such indications. But the point is not even in such designations, but in some general prerequisites for organ performance. These prerequisites make it possible to extract from the musical text itself indications that were not indicated by the composer. The knowledge of these prerequisites constitutes a school that is transmitted from generation to generation through personal communication. Therefore, a large part of what is attributed to the individual style of the artist, in fact, is only following a certain tradition, obvious to a knowledgeable organist. There are also deviations from generally accepted norms, their modernization and stylization, but these are exceptions to the rules.

So, an organist who is well versed in modern registration traditions relies on some aesthetic criteria that allow him to distribute and stretch the levers of the registers even when there are no indications in this regard in the musical text.

The first element of registration is knowledge of the basic stylistic laws of organ music. Be sure to also familiarize yourself with the various styles of music performed.

The second element is the ability to apply the general principles of registration (denoted by the author or established by analysis) to a given instrument. It is necessary to be able to include the totality of resources of a given tool in a chain of equations connecting each tool with similar ones. This comparison is based on the identity of the functions of the organs, as self-contained performing apparatuses. In this way, correspondences are established between the various capabilities of a variety of tools. What is appropriate for one organ is inappropriate for another. This is a kind of comparative instrumentation.

From here, thirdly, it follows that the organist must be able to delve into the essence of this instrument, to diagnose its capabilities and shortcomings. Each organ therefore requires special registration techniques. On a typewriter, learn to write by repeating the same phrase over and over. Similarly, one can say the following about registration: one must first study one tool exhaustively, extract all the possibilities from it, then one can move on to another to study it equally thoroughly. An exhaustive knowledge of two instruments will give more than a superficial acquaintance with dozens. The experience of registration is born in an effort to exhaust all the possibilities of this tool with its limited resources. The task becomes fruitful only with a sufficient constraint.

{96} Among the ways to develop an understanding of the means of the body, I note:

1) acquaintance with its main types (history of types);

2) exercises in drawing up dispositions and criticism of these projects.

Such exercises develop a conscious attitude to the resources of the instrument to the highest degree. In a pedagogical sense, it is useful to draw up the dispositions of only small organs. Restricting to small resources, say ten registers, encourages ingenuity. Then the one who draws up the project, by all means strives to achieve the maximum utility with a minimum of means, that is, the maximum density. Only narrow limits teach us to understand the value of each resource. Having fully mastered the experience of compiling a disposition for 10-25 registers, you can move on to using 50-60. Without such practical-performing experience, it makes no sense to refer to extensive dispositions. First, each register possibility must be examined. Having studied it, the student at the same time outlines the criteria that he will apply in assessing this body. Evaluation of it is possible only through cross-criticism, that is, criticism in several directions. That, in general terms, is all that can be said about the art of registration as a whole. Of the ways of teaching, I will note, on the one hand, the study of musical literature, its historical styles, and on the other, general principles organ building and its various types.

I will briefly note the registration functions.

Being one of the performing means, it is primarily aimed at revealing the timbre and dynamics (sound strength). A specific property of the organ is that its timbre and strength do not intersect, but are connected. If a timbre is given, then strength is also given, and vice versa - a certain strength requires an equally specific timbre. Such a relationship is based on the constancy of the timbre and strength of each register, which is partly the case with other instruments, but nowhere is it expressed with such immutability as in the organ. This relationship is one of the main difficulties of registration. Creative tasks therefore act simultaneously in two directions - dynamic and timbre plan.

Therefore, the main functions of registration are as follows:

1) dynamic plan,

2) timbre, as such,

3) timbre plan as a form factor,

4) detection of polyphony (transparency) of the fabric,

5) dividing the polyphonic fabric for formal compositional purposes,

6) acoustic expediency,

7) accuracy and cost savings in the implementation of the plan.

Outside of knowledge of style and instrument, registration as a performing art should be evaluated separately for the noted functions, and only after this separate criticism can their summary description be given.

{97} The study of organ registration breaks down into the following points:

1. Elementary acquaintance with the structure of the organ:

a) theoretical

b) practical.

2. Classification of registers, study of groups.

3. A detailed study of this body.

4. Basic connections.

5. Continuous dynamic rock.

6. Horizontal oppositions.

7. Vertical oppositions:

c) bass (here we consider all cases of dynamic stairs from solo to tutti).

8. Registration of individual fragments.

9. Interpretation of Bach's works. Basic principles:

a) changing keyboards,

b) registration.

10. Box * as a dynamic factor and as a form factor.

11. Acquaintance with literature.

12. Acquaintance with the designations of the French and German schools.

13. Acquaintance with the types of organs: organ of the Bach times, French organ of the 17th century, modern German organs, modern French organ.

14. Drawing up dispositions and their criticism.

15. Work as an assistant.

16. Registration without an organ ("typical").

Classes under this scheme can be started from the first year of study. These studies should be preceded by only the most elementary acquaintance with organ technique. Self-registration experiences can begin immediately. The importance should be emphasized independent work. It is necessary to require the preparation of independent registration projects and only correct the plans conceived by the students themselves.

ORGAN AND PIANO

The keyboards of the organ and piano are identical. Hence the close proximity of the two instruments. It can be traced in various plans. So, in terms of history: great harpsichordists were at the same time great organists; French organists of the 17th century wrote pieces for harpsichord or organ; Bach accompanied cantatas at the harpsichord or at the organ; in the collections, which he called "Klavierübung", that is, "Clavier Exercises", Bach included his organ works; his organ Passacaglia in the first edition was intended for a harpsichord with two keyboards and pedals, etc.

In 1896, Hans Bülow pointed out the connection between the organ and the piano: “All the outstanding virtuosos of the organ, as far as we know, were at the same time greater or lesser masters {98} piano. Only a significant pianist can give something significant on the organ. And the modern organist only on the shoulders of the pianist gets to the "father of all instruments" ... If we had not been convinced of this empirically, on indisputable facts, that is, on living artists, we would have undertaken to prove this by pointing out the similarity of both instruments, and especially to the difference within this similarity with the enumeration of the necessary exercises.

The organ technique is based on the pianistic technique. This follows, as already mentioned, from the structural and anatomical identity of the keyboards. Therefore, individual techniques of organ performance have analogies in piano playing. It is clear that both instruments have identical methods of agogics and accentuation. Some commonality is found in the field of touch, because the movements by which evenness and transparency of sound are achieved are similar on both instruments. The development on the piano of not only a dynamically even line, but also the coloring of sound leads to a certain kind of legato on the organ, that is, the magnitude of the artistic order. The search for an even touch is equally necessary for both the pianist and the organist, the gymnastics of the hand, hearing, attention, and will.

Another analogy. At first glance, it would seem impossible to coherently perform Max Reger's cumbersome chords on the organ. Subsequently, however, the organist notes that it is necessary to carefully connect only the sounds of the upper voice, while the breaks in the middle voices give the impression not of jumps, but of distinctness. Therefore, the organist achieves special movements, setting and tension of the fourth and fifth fingers of the right hand. Similarly, the unevenness of the piano sound (massive strings at the bottom, thin ones at the top) develops in the pianist the habit of focusing the weight of the hand on the fingers playing the upper voice. It is not improbable that the indicated efforts are identical for the keyboard of the organ. But even if they are different, it is important that both the pianist and the organist work out the movements of some part of the hand independently (conditionally) from other movements. Since the technique is localized not in the periphery, but in the center, the ability to consciously select a certain part of the hand - for one or another movement is important.

Just as a pianist produces sound by striking, a violinist by drawing a bow, so an organist must be able to speak his instrument with the finest flair for all possible transitions from legato to staccato and vice versa. Only the path of mastering the piano technique leads to this difficult goal. Thus, the young organist acquires the culture of hand movements and the necessary development of all fingers, for the organ is sensitive to any inaccuracy, therefore even the most seemingly simple passage requires perfect technique.

{99} So, the study of the organ is possible only on the basis of a developed pianistic technique. The reasons for this are as follows:

1) the identity of the keyboards,

3) the identity of agogics and accentuation,

4) analogies in the touch,

5) similar techniques,

6) accuracy requires a verified culture of hand movements.

But besides these analogies, there is another important circumstance that makes the organist often turn to the piano: one cannot practice an unlimited amount on the organ, one cannot develop mechanics. The organ-instrument, which the student will be able to approach after a long preparatory path: first, notes are studied with a pencil, then the piano, then the pedal-vane. When the executive mechanism is fixed, the thing is technically completed on the training organ. And only quite ready, it is transferred to a large organ.

I repeat: the path - notes with a pencil, piano, pedal-flugel, small organ, large organ - is obligatory, and you can approach the next stage only after passing the previous one. I will conclude by pointing out the general reasons for the need for an organist to have a thorough knowledge of the piano.

1. Organ literature is not sufficient for a comprehensive musical aesthetic development; the piano fills in the gaps.

2. Organist - a musical figure, a conductor of the revival of organ culture; Knowledge of the piano is an essential tool for every musician.

3. An organist pianist can contribute to the development of a polyphonic piano style.

WHAT A COMPOSER WRITING FOR THE ORGAN SHOULD KNOW

The year of J. S. Bach's death - 1750 - can be conditionally considered the end of the heyday of organ art. In the previous era, the organ stood at the center of musical life. Not a single prominent composer of that time could pass by the organ - they were all organists at the same time. Since 1750, the century of oblivion of the organ begins. During this century, a huge number of ancient instruments built by the greatest organ makers were destroyed. Can we imagine that, say, Stradivarius violins experienced a similar drama? Does this disastrous revision, which the instruments of the greatest masters have undergone, only mean that the musical art of the 19th century stood in a deep inner {100} antagonism towards organ art? Indeed, under the guise of revision, its material stronghold was also destroyed. And isn't it natural that with Mozart, Haydn, Beethoven, Schubert, the time of ignorance of organ art begins. Only from the second half of the 19th century and then at the beginning of the 20th century is there a revival of interest in it. However, the powerful current of rebirth is still devoid of the depth and organicity that are necessary for the actual overcoming of such ignorance.

A curious example of this is the organ parts in the scores of operas and ballets. I will not dwell on the texture of the organ solo, say, in the ballet Esmeralda by Pugni (it only causes bewilderment). But even if we take the famous organ solo in Faust, here too we must acknowledge the fact that Gounod knew the organ less than any other orchestral instrument. The naivety contained here is noticeable to anyone who is somewhat knowledgeable in the organ. It is not necessary to give further examples, I must only say that neither the glory nor the greatness of the composer helps at the moment when the maestro has to write a small organ solo.

From my practice I will mention only one organ part, which made a particularly strong impression on me. The author, who conceived a monumental end to his oratorio, wanted to embellish this end with the support of an organ. He began the part of the organ with music played only with one hand, that is, on the manuals, and in its constant growth caused the strongest expectation of the bass entry. Finally the bass came in. He entered on a sound that did not exist in the foot pedal, and the organist had to solemnly hold this non-existent note for a hundred measures! ..

For 15 years I have had to deal constantly with composers who write for the organ, and I have become convinced that in most cases mastering this instrument presents great and peculiar difficulties. The composer studies the orchestra and all the instruments included in it, first in theory and then in practice. But how and where can a composer acquire the information that will give him a real knowledge of the organ?

In this article, I would like to make an attempt to formulate in general terms the main things that a composer who writes for organ should be guided by.

I'll start by criticizing a number of common and supposedly obvious statements.

1. I have often heard that a composer who writes for an organ, if he wants to really learn the instrument, must at least learn to play it to some extent. I consider this statement to be incorrect. Learning to play the organ is a very difficult task. In addition, there is no certainty that, in the course of his own sound experiments, the composer will actually find the main patterns. {101} organ writing. The first years of studying the organ can only give rise to confusion.

(Full knowledge of the organ is, of course, the best help to a composer who writes for the organ. But half-knowledge (performing) can be worse than ignorance.).

2. It is usually argued that the composer must be familiar with the art of registration, must know the registers of the organ, their timbres and combinations. This statement is also considered incorrect. Each organ is a unique instrument, different from other organs. To know one violin is to know the violin in general. To know one piano is to know the piano in general. But what is actually common between organs in 5, 30, 70 and 180 registers? After all, the timbres of the registers are just what makes one organ unrecognizably different from another. And meanwhile, the composer must, after all, write his composition not for any one instrument, but for the organ in general. His composition must be adapted both for performance on the organ in 20 voices and for performance on the organ in 120 voices. It is clear that the study of the timbres of the registers will not give the composer an understanding of the general laws underlying organ art.

3. Quite often, a composer addressing the organ tries, first of all, to clarify for himself the use in playing and in composition of octave doublings, which, as he heard, the organ is rich in. The composer first of all turns to the sixteen-foot, eight-, four- and two-foot registers, obviously intending to develop his musical ideas through their combination. Such a direction of the composer's interest is, in my opinion, useless, it does not give him any leading knowledge and keeps him astray. The octave doubling of the organ should be considered in the first steps only as a timbre enrichment, but by no means as a transfer of music to another octave. Octave doublings on the organ are not pitch, but timbre, and therefore the composer must consider the entire organ keyboard to sound the way the music is written for it.

4. Finally, composers often feel they must learn the art of using multiple keyboards to play. They believe that all dynamics, all development depend on keyboard changes, through which the emphasis on overtones, dynamic shades, etc. is achieved. Of course, changing keyboards (manuals) is a technique essential for organ playing. However, an increased interest in diversity in the use of manuals is not a fruitful interest. The timbres of registers, octave doublings, keyboard changes - all this, of course, is important for organ playing, but the composer should not look for the main thing here, which will open him access to true knowledge of the essence of organ art.

{102} These are the misconceptions that I have come across in my 15 years of work with composers who study and write for the organ.

What is the main thing?

The first and main thing that a composer must do is to learn how to write (and that means think) music for an organ that consists of one keyboard and has a single register. Writing music for one unchanging register is what a composer must learn. If this music is possible on one keyboard and one register, then it will succeed on any organ.

I will give two reasons for this thesis. First, it is obvious that this path is very pedagogical. He suggests studying one register first, that is, studying the element that makes up the entire organ playing. However, this is not the only thing: all the originality of organ playing is contained in one register. The organ shares its essence, hidden in the play of one register, with the harpsichord, the second main instrument of ancient art. With all the difference in timbre and method of extracting sound, the organ and harpsichord converge in one property that is essential for them and which turns out to be associated with the deep stylistic features of ancient art. This property, which distinguishes them from all other instruments, consists in the following: the strength and quality of the extracted sound from an organ or harpsichord key does not depend on the strength of the strike on the key. Thus, the organ keyboard does not provide the performer with the opportunity to implement any shades. As they say, the organ keyboard (here we are talking about the keyboard with the same number of registers) has no shades. Organ playing is devoid of that dynamic liveliness that is characteristic of other instruments, it is devoid of dynamic shades.

But, as shown in my work “The Unity of Sonority”, organ playing still has dynamic shades, though they depend not on the performer, but on the composer and on the organ master who built the organ. Indeed, although the strength of the sound on the organ does not depend on the strike on the key, nevertheless, the scale played on the organ has some kind of dynamic certainty; it seems to strive from shadow to light, passes from one tessitura to another, and, running through the keyboard with an increase or decrease in strength, in a certain way preserves or modifies its timbre. The scale played on the organ is a kind of timbre-dynamic process, and it is determined by the intonation of the register on which the scale is played. But the composer who writes for the organ throws on the organ keyboard not a scale, but an ornament of his melody. Obviously, this ornament on a permanent keyboard will give some kind of timbre-dynamic relief, determined, firstly, by the intonation of the organ {103} and, secondly, the ornamentation of the melody itself. Playing within a constant timbre-dynamic mode (this is how I will call playing on an organ keyboard with one or more constant registers) is devoid of a number of possibilities familiar to the performer (On the concept of a timbre-dynamic mode, see the above-mentioned article "Unity of Sonority".).

A constant timbre-dynamic mode does not give the possibility of a dynamic accent, it does not make it possible to set off some sounds with arbitrary dynamics and muffle others, to give more brightness to one turn and dim another. The constant timbre-dynamic mode deprives the performer of the opportunity to intervene in any way during the melody directed in one way or another by the composer. And a composer who writes for a constant timbre-dynamic mode cannot expect the performer to expose his melody to any kind of dynamic illumination. The composer's melody, thrown in such a way, will appear before the listener in its full and undisguised objectivity. The performer will not add any dynamic life to what the constant timbre-dynamic play of the organ register impartially expresses about the melody. Thus, a composer writing for the timbre-dynamic mode of the organ must be ready to submit his melody to the impartial judgment of the unchanging playing of the organ register. Moreover, he is obliged to penetrate those laws of dynamics that are hidden in the most constant timbre-dynamic harmony.

These laws exist, and they are inherent in all organ registers, they are the essence of the organ keyboard playing itself, the essence of the organ playing itself. I believe that the laws of a constant timbre-dynamic mode are exactly what separates organ art from playing other instruments. In other instruments, the regularities of the timbre-dynamic mode are only present, they serve only as a distant logical basis, which is denied by a truly lively game. In organ playing, the regularities of a constant timbre-dynamic mode are the supreme and the only principle, to whose judgment the melody created by the composer is given.

This article is not the place to give a more detailed aesthetic justification of its properties. This mode is an artistic phenomenon that lives in musical practice. Knowledge of its laws is given in the very process of creativity of a composer or performer. I do not think that these regularities can be exhaustively defined logically and verbally. However, something can still be determined, and this something will serve as an essential support for the composer studying the organ in his search. It may seem that the remarks which {104} In the future, I will make about the laws of the timbre-dynamic mode, they do not actually belong to the organ, but in general are the foundations of the logic of musical texture. However, it has just been pointed out that the specificity of organ texture consists not so much in the absolute originality of requirements, but in the fact that the texture of an organ composition is determined mainly by the laws of a constant timbre-dynamic mode.

The first property of the organ keyboard, which the composer must take into account, is its enormous sensitivity to any intonational rise and fall. This sensitivity of the organ keyboard to intonational movements is explained by the fact that the intonational ornament is not corrected by any dynamic shades. That is why attention, freed from any dynamic detailing, is directed entirely and with tremendous intentness to the only thing that happens in sound, namely, to intonational change. If we take into account this maximum sensitivity of the organ keyboard to the pitch shift, then the requirements for a greater “slopeness” (smoothness) of the intonation wave, which follow from it, become clear. A greater or lesser flatness of a melodic wave can often be a criterion for the possibility of playing this or that texture on the organ. If we abandon special sound considerations and approach the experiment with sufficient auditory objectivity and impartiality, then it should be recognized that Chopin's etude op. 10, No. 2 sounds quite clear on the organ, which, in my opinion, is determined by the fact that all three constituent elements of the texture with sufficient regularity retain their tessitura position throughout the entire etude (Tessitura in this context means the concept of pitch or register - in in the usual sense of the word (that is, not as a "organ register")). The movement of the scale, slowed down by chromatism, turns out to be quite gentle. The other two elements - bass and middle flow chords - hold on to their tessitura steadfastly. Chopin's etude op. also sounds good on the organ. 25, No. 2: the right hand - because all its melodic movement is clearly expressed in the very high-altitude ornament and does not require any special dynamic means for its explanation, the left hand also turns out to sound satisfactory for the reason that the abruptness of its movement in in fact, it turns out to be only the movement of a harmonic background that is stable in the tessitura relation, decomposed by means of hidden polyphony. These are the two contrasts of the above intonation smoothness.

Chopin's first etude (op. 10) cannot be played on the organ, since its passages run over the entire keyboard with excessive speed. On the piano to the brilliance and light of the tops with {105} sufficient force is opposed to the full sound and the well-known impact force of the bass register. On the organ, the lower links of the passage will helplessly disappear and be completely pushed aside by the brilliant tops. For the same reason, the finale of Beethoven's Moonlight Sonata cannot be played on the organ. First, here, as in Chopin's first etude, the passages run over the entire keyboard with too much speed; but, in addition, there is a second obstacle here - the impetuousness of the music here is so great that two chords sf at the end of the passage, they cannot be satisfied with mere intonation superiority. Their advancement by a purely intonational way turns out to be insufficient - the end of the passage needs an accent, which the organ does not have.

The requirement for a flat and smooth pitch curve determines the phenomenon of beating the main intonational reference line.

An example of this play on the main line is the themes of many of Bach's organ fugues. Let me remind here the second half of the a-moll theme (Example 26a), where the play on each of the descending seconds f, e, d, c 12 sixteenths are dedicated. In the theme of D-dur to beat descending melodic peaks h, a, g, fis each time 8 sixteenths are dedicated, which each time are plastically distributed into two groups of 4 sixteenths each (example 26b).

The phenomenon described above was studied in detail by Ernst Kurt, and, as it seems at first glance, this is generally characteristic of Bach's writing style (regardless of the properties of the instrument). However, if we compare the themes of the harpsichord fugues with those of the organ fugues just given, we will see that the clavier themes are devoid of such extensively figured gentle falling lines. From the comparison it is clear that it is the organ theme that requires more widespread, meaningful, long smooth descents.

If we now move from the Bach fugue to the virtuoso Toccata by the French organist-composer Charles Widor, then in a completely different concept, in a completely different music and different texture, we will find the same phenomenon of rich ornamental coloring of a simple and slowly moving main line along the tessitura (example 27a). In the toccata from the "Gothic Suite" by L. Böllmann * - again a different texture, but again the same {106} the same principle of ornamental surroundings of the main line (example 27b).

Finally, two more examples from another area. Chorale S. Frank

a-moll. Let's pay attention to the long rise leading to the reprise (example 28). In this symphonic build-up, both the ornamental movement that develops the melody of Adagio and the turns themselves shifting the whole music up a second are the essence of the symphonic crescendo. Similarly, the final build-up in Franck's Chorale in E-dur, which leads to the last variation, is built on playing up ascending melodic moves (example 29).

In this case, the ascending harmonies and their melodic coloring are the very essence of the rise leading to the climax. The same idea of a colored rise is demonstrated by the penultimate variation from X. Kushnarev's Passacaglia (example 30).

The organ sound, taken by itself, is too immobile and mechanical to express the composer's melodic or symphonic intentions. It comes to life in the ornament, and this ornament, filling in its movement what the organ sound lacks in its single form, becomes a real element of the organ melody. But once organ sounds set in motion by means of ornament, moving perhaps within the limits of a tessitura of small but full significance in the conditions of organ art, become carriers of melodic or symphonic development. This phenomenon is found both in the theme of the fugue, and in the virtuoso toccata, and in the symphonic growth of the chorale fantasy, passacaglia, etc.

It was pointed out above that the organ is deprived of the possibility of emphasizing anything and brightening up something in a melody thrown onto the organ keyboard; the melody appears before the listener with complete clarity and elementality, where the organ register presents the listener with the structure of the performed melody with the detail, rigor and distinctness of an impartial judge. With all the greater brightness, one of the main dramas of the ornamented melodic movement appears on the organ - I mean the opposition of the melodic second and the harmonic third. A second, though non-simultaneously sounding, {107} requires its permission in consonance; the third, although included in the chord, requires melodic filling. On the organ, devoid of accent, sound thinning, the ability to soften or emphasize intonation conflict, the listener perceives with extraordinary clarity the moment when moving voices are distributed in a consonant chord. And the second, not covered by anything, not softened by anything, appears before the listener in its full conflict striving, which lasts without drying up until it resolves into a continuous third.

{108} Therefore, on the instrument, on which second collisions are emphasized in inexorable duration, and consonant thirds in harmonic fusion, on the organ, the “drama” of the second and third is the main drama of the entire colored melodic movement.

There is no need to give new examples here. Isn't the second spark a brilliant reflection in which the ornament of Bach's organ themes a-moll, D-dur lives and shines? Is not the melodic movement of Vidor's brilliant Toccata illuminated by a second spark? Doesn't Böllmann's Toccata sound more dull and monotonous just from the fact that it is devoid of a second sparkle?

In Bach's Toccata in F-dur for 26 bars of the first pedal solo (or 32 bars of the second solo) on strong time {109} of each measure there is a second revolution - the mordent formula - a second of melisma is not found anywhere else. We find the same regularity in the second voice of the canon. Every performer knows that it is the beat of the seconds of the mordents that gives the spark, the light, the accent, as if to the endless run of this incomparable Toccata. In seconds, motionless, it would seem, organ registers come to life (example 31).

Finally, a final preliminary remark. The main character of the constant timbre-dynamic scale is the movement from below, from darkness - upwards, towards the light. The hierarchy of a series of sounds played on the organ register is established according to this unshakable principle. Hence, any more elevated note will be senior in relation to the note located below.

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The organ is one of the most attractive musical instruments. It exists in several variations - from electronic to church or theatrical. It is quite difficult to play on it, but your work will not be in vain, because the organ will give you a huge amount of pleasant minutes and delicious music.

Organ: description and history?

The organ is the largest keyboard wind musical instrument. It sounds with the help of pipes that have different timbres. Air is forced into them with furs, and, thanks to this, music is heard.

They play the organ with the help of several manuals - keyboards for hands. You also need to use a pedalboard to play.

Large organs appeared in the fourth century. By the eighth century, they were improved to a more or less familiar form. This instrument was introduced into the Catholic Church by Pope Vitalian in 666.

The construction of organs developed in Italy, later they appear in France and Germany. By the 14th century, the organ was already widespread almost everywhere.

In the Middle Ages, the organs were of rough work. The width of the keys was almost 7 cm, and they were struck with fists, and not with fingers, as is customary now. The distance between the keys was one and a half cm.

Learning to play the organ

First of all, you need to understand that it is difficult to play the organ. Almost all organists learn to play the piano before mastering the organ. If you don't know how to play it, it's worth spending a few years learning the basics of the game. But if you have keyboard skills, you can try using several keyboards and pedals.

If possible, find someone to teach you how to play the organ. You can ask about this in a musical institution, or a church. You can also view periodicals that are intended for teachers.

Read books to help you master keyboard terms. For example, How to Play the Piano Despite Years of Practice is considered an excellent book of this type. It will help you to get the necessary skills of the game.

To play the organ, you will need a pair of organ shoes. It can be easily purchased online. If you wear it during classes, then you will learn how to use the instrument much faster. By the way, dirt does not stick to such boots, so the pedals do not get dirty.

Get to know the organists who live in your city. As a rule, there are not very many of them, and they communicate closely with each other. They can give you the support and advice you need.

Do not think that you can quickly learn to play this instrument. Start small and gradually move towards mastery of the theatrical organ. This will require a lot of effort and perseverance.

And, of course, practical exercises are simply necessary. The more often and more you learn to play, the better you will get. But before you move on to practice, learn to distinguish between key sensitivity, valves and tones.

Content

1. Introduction

2. Landing behind the tool

3. Posture of hands and articulation

4. Work on coordination

5.Conclusion

Bibliography

Any activity requires conscious and directed work. Therefore, with students, especially those who begin learning to play the piano, it is necessary to consistently develop thinking and will, teach them to overcome difficulties, develop the desire to independently cope with complex tasks, and also develop creative initiative and imagination in students.

The quality of skills and abilities, the depth of knowledge and correct judgment play a very important role in the development of artistic activity. In working with beginners, these requirements should always correspond to the individual characteristics of children, their natural musical natural features, their ability to assimilate educational material that meets the principles of accessibility.

Students should know that the performance of a work of art, even the smallest and lightest, is the transfer of the semantic essence in the fullness of artistic images, the identification of human thoughts, feelings and experiences by musical means. In music, this can be done with the help of expressive means of sound, and this sound must be found. The methods and means are: on the one hand, the brightness and accuracy of musical performances, on the other hand, a system of performing skills and abilities.

Tool landing .

Proper seating is crucial to mastering all the skills of playing the organ. It should be comfortable for developing all the movements of the hands and feet of the student and maintain the necessary freedom during execution. It is necessary to sit down against the middle of the keyboard (approximately up to the first octave). It is very important that the student either reach with his feet to the foot keyboard, or, otherwise, he would be able to comfortably place his feet on the support of the organ bench.

You need to sit at a sufficient distance from the keyboard. A fit that is too close to the keyboard will restrict the movement of the arms and limit the freedom of movement of the legs. You can not sit too far from the keyboard, in this case, the arms will be in an outstretched state, which will not give the necessary freedom of hand movements. The student will have difficulty reaching the second and third manuals. The fit should give the arms a roundness, not an elongation. The elbows will be slightly moved away from the body.

A bench with a variable adjustable height helps to ensure the correct fit in height. You need to sit on half of the bench so that the body can bend freely and the legs can move forward, backward, right and left. This creates a favorable condition for using the entire keyboard and pedal in the game.

Hand position and articulation.

The huge range of possibilities of piano sounding, the variety of dynamic and agogic shades of performance, various techniques require a certain elasticity from the hands, ensuring the coordination of all parts of the hand. The movements of the hand should be simple and economical, they should contribute to the most expressive performance.

The essential role of articulation in the performance of organ works is determined by the very properties of the organ. It does not have a facility analogous to a piano's right pedal. On the piano, we can take our hand off the key after a strike and prolong the sound with the pedal. In this case, the sound should be stopped no longer by the movement of the fingers, but by lowering the dampers controlled by the pedal. Unlike the piano, on the organ, if we take our hand off the keyboard, the sound stops immediately. This property of the organ alone makes clear the significance that manual (manual) techniques of binding and dismemberment have in the performance of organ music. These techniques are no longer carried out in total over the entire sound fabric, as when using a piano pedal, but separately for each voice. If the organist intends to play something legato, he achieves coherent tones by carefully linking key to key. If music requires a more dismembered performance, then the nature of this dismemberment, its evenness, depend on the development of a certain manual technique, on one or another way of releasing the key.

The significance of articulation in organ art is based, however, not only on the properties of the organ, it is also determined by the general significance of articulation in organ art, especially in baroque music.

Coordination of auditory perception and sound extraction is necessary already at an early stage of learning a little pianist. To do this, always during the lesson, you need to turn to the musical ear of beginners, cultivate the ability to imagine the sound and strive to get the desired result.

Explanatory note

Thanks to the appearance of electric organs in children's music schools, it became possible to start learning to play the organ from the first stage of musical education. A new area has appeared in the educational and concert practice of the Children's Music School - children's organ music-making: solo and ensemble. The content of primary musical education was enriched by acquaintance with organ literature and, what is important, by familiarizing a wide children's audience with it. The organ class at the Children's Music School is a small center of organ culture, which attracts schoolchildren of other specialties and contributes to the continuation of the traditions of the Russian organ school - the enlightenment of organ art in Russia. Thematic concerts - lectures, during the preparation of which vocal, choral, instrumental music is involved, as well as materials from the history of related arts (architecture, painting, spiritual and secular poetry), involve students not only of the organ class, but also children studying in other departments and those seeking to master the skills of playing and get acquainted with the registers of the organ.
Along with the general tasks of musical and aesthetic education, organ education creates the prerequisites for the spiritual development and formation of the child's personality. As a part of Christian culture, organ literature introduces the student to the spiritual content of choral arrangements (the fundamental principles of organ composition), the plots and images of the Gospel, and the musical language of Christian symbolism. Organ music-making at the Children's Music School makes it possible to perform works in the original, bypassing transcriptions, and introduces the student to the specifics of performing on ancient keyboard instruments. The rich history of organ practice, which, as you know, is a synthesis of composition, performance and improvisation, as well as the phenomenal sound capabilities of the organ, the presence of several manuals and a pedal keyboard, create a unique base for practicing creative music on the organ.

The program has creative direction. It is difficult to overestimate the role of children's creativity in the musical educational process. L. Vygotsky wrote: “Creativity actually exists not only where it creates great historical works, but also everywhere where a person imagines, combines, changes and creates something new, no matter how small this new thing may seem in comparison with the creations of geniuses ”(Vygotsky L.S. Imagination and creativity in childhood. Psychological essay. M. Education. 1991). Creative music-making as a teaching method is widely used in the school curriculum. It covers both piano methods of primary education and methodological developments devoted to the issues of early education in harmony, composition, improvisation (L. Barenboim, S. Maltsev, A. Maklygin, G. Shatkovsky, A. Nikitin, etc.). In relation to the modern practice of teaching the organ in the music school, playing music with elements of improvisation (variation, coloring) and composing in the ancient genres of organ music allow us to approach the understanding of the historical style from the inside, to better understand the nature of organ performing art. This approach defines novelty this program.
Modern performing arts tends to authentic reading in terms of interpretation of ancient music and, in this regard, the problem of the formation of creative skills in music-making relevant and for children's organ pedagogy, since the solution of this problem to a certain extent is already possible at the first stage of education.

Relevance The program corresponds to one of the leading directions of modern pedagogy - the education of a creative personality. The introduction of creative music-making into the educational process increases the student's interest in the subject, fills him with the joy of creation, creates a special atmosphere of co-creation between the teacher and the student in the classroom.

Pedagogical expediency of this program is the development of a person's motivation for knowledge and creativity. As experience shows, switching the student's attention to the realization of his own plan helps to overcome coordination difficulties more easily, frees him from physical and psychological tightness. The search for register solutions for the performance of one's own "works" helps to master the disposition of the organ (the main register groups, timbres, pitch and colors of sound). The invention and combination of various "formulas" of variations captivates the student, develops musical thinking, imagination and fantasy. The freedom to choose a figurative solution to this topic attracts the student to work on the idea of the play, encourages interpretation, and develops the student's individuality.
Taking into account the specifics of the program, goal it is defined as introducing schoolchildren to organ art.

Along with the tasks of learning to actually play the organ:

mastering the pedal keyboard;
acquisition of playing skills on several manuals;
development of coordination of movements;
development of skills in the technique of playing the organ (sound production, articulation, agogics, phrasing);
mastering the principles of registration based on the repertoire;
mastering registration skills when playing in an ensemble with various instruments.

The program has the tasks of the creative practice of music making:

formation of creative skills and abilities of music-making,
acquisition of initial experience of musical and creative activity.

Classes in elementary harmony and ornamentation can be considered as preparation for reading digital bass.

Distinctive feature this program is the presence of the creative activity of students and the pedagogical search for common ground between the ancient and modern practice of improvisation on the organ; adaptation to childhood and adolescence. This program is designed for children from 9-10 to 14-15 years old. A specific feature of learning to play the organ as an elective subject in children's music schools is a heterogeneous contingent of those wishing to learn in terms of age and preparation, so classes with each student correct the provisions of this program. The duration of the educational process is 4 years. The form of training is individual. Reporting form - test, cool concert, thematic concert-lecture.
The duration of the lesson is 40 minutes.
During the implementation of the program, the following result is predicted, obtained in accordance with the level of development of the student and the degree of his giftedness - involvement in the organ art of the future professional musician, participant in amateur music making, competent listener of organ concerts.

Educational and thematic plan

The curriculum is designed for 35 weeks
I half-year - 16 weeks
II half - 19 weeks

Grade 4 (1st year of study)

Pedal exercises
Pedal exercises - compose a melody
Exercises for coordination of movements and development of modal functions T, S, D
6-7 manual pieces with marked baroque pedal part
2-3 pieces from the Children's Albums of Tchaikovsky, Sviridov and others (arrangements).
Melody harmonization based on full functional turnover T-S-D-T
Composing variations on a given theme

Grade 5 (2nd year of study)

Pedal exercises
2-3 works by composers of the early Baroque of the national schools of Europe (Italian, French, German, Spanish, English)
1-2 Little Preludes and Fugues by J.S. Bach
1-2 works by Russian composers
1 accompaniment
Making music "in the manner of Echo"
Music-making with elements of melody coloring and bass figures on the material of pieces from the Notebook of A.M. Bach

Grade 6 (3rd year of study)

1-2 choral adaptations of the Baroque era
1 toccata, fantasy
1-2 romantic pieces

1 accompaniment
Composition of variations on basso ostinato (chaconne, passacaglia)
Composition of textural plays (preamble, prelude, etc.)

Grade 7 (4th year of study)

1 prelude and fugue by J.S. Bach
2-3 parts of the Concerto, partitas
1 major romantic work
1-2 works by contemporary composers
1-2 accompaniments
Writing program plays
Improvisation of musical construction in the form of a period according to a harmonic scheme

The main directions of work with a novice organist are dictated by his acquaintance with the specifics of the instrument. The presence of several keyboards and the mobility of the legs correct the fit behind the instrument. The formation of initial motor skills occurs on the material of pedal exercises and manual plays. The absence of piano dynamics changes the complex of psychophysical sensations that have developed in the process of learning to play the piano. Organ sounding, organ mechanics, acoustics require a certain sound production and the corresponding execution of various types of strokes, clear articulation. Agogics acquires great importance both in the work on the plasticity of organ sounding and in the work on the form of the performed work. A special place in the process of working on a work is occupied by registration. The sound picture of an organ composition is determined by many factors: historical era, genre, style, belonging to a certain national organ school, and therefore to a certain type of organ. Such a volume educational process requires the student to acquire knowledge from the history of organ culture. One of the forms of classes in this direction are thematic class meetings.

Sample Topics

I. "The appearance of the organ in the Middle Ages"

Organ in Byzantium
Plainchant
Organum, discantation.

P. "Pages of the history of the organ culture of Western Europe in the Renaissance"

The emergence of national organ schools and original literature for the organ.
The practice of diminution and glossing.
Renaissance organ.

III. "North German Organ School of the Second Generations"
Features of the baroque organ.

IV. "Organ Book" by J.S. Bach
V. “Romantic Organ and Orgelbewengung. A. Schweitzer»
VI. “Modern recording of organ works” (on the example of “Light and Dark” by S. Gubaidulina)

The incentive for such activities can be the preparation and holding of a class concert.

Sample plan for a class concert

Topic. Pages of organ music making in Russia.

Materials for opening remarks and comments during the concert:

L.I. Roizman "Organ in the history of Russian musical culture". M. 1979
N. Findeizen "Essays on the history of music in Russia" M.L. 1928 Issue I
N. Bakeeva "Organ" M. 1977

Approximate program of the concert

"I am in my brethren" Spanish. choir accompanied by organ
"I'll start on the flute, poems are sad" Spanish. choir accompanied by organ and flute
"In Tears Russia" Spanish. choir accompanied by organ and trumpet ensemble
V. Odoevsky "Sing in delight the Russian choir"

2. Pieces for organ by V. Odoevsky, M. Glinka, I. Gessler, A. Gedike, P. Tchaikovsky (arrangements from the children's album), Butsko, Kikta, Shostakovich and others.
3. Ensembles with violin, cello, etc.

Such concerts are coordinated with the teachers of other departments (ensembles) and with the general concert plan of the school for the academic year.
The pedagogical repertoire on a particular topic is distributed among students of different ages in order to cover the entire class, because. The concert is also a form of accountability for organ learning.
The historical aspect of familiarization with organ literature corresponds to the traditional requirements of organ education, including music.

old masters
J.S. Bach
Romantikov (XIX century)
Contemporary composers (twentieth century)

Under the conditions of primary education in music schools, the repertoire is quite limited by the age of the student and the lack of instrument lessons (for objective reasons). During the academic year, it is possible to prepare 6-7 works (including the ensemble) and master a certain stage of creative music making. In general, during the period of study, it is necessary to master the organ performance (including registration) of works of the following genres (according to the historical scheme):

1) Polyphonic warehouse:
a) from ricercar to fugue
b) choral processing (various types of polyphony)
c) virtuoso pieces with elements of polyphony - toccatas, preludes, fantasies, preambles
2) Large form - parts of concerts, variations.
3) Diverse, colorful plays.

The basis of the creative aspect of education is the principle of variation - the most accessible for children's creative music-making. The initial experience of creative activity in this technique of composition has a beneficial effect not only on the development of creative abilities, but also opens up access to practical acquaintance with the organ practice of organ improvisation of previous centuries, the study of genres - choral arrangements, chaconnes, passacoli, etc., and also gives an idea of baroque manner *. The practice of variation activates the learning process itself. In the process of composing basso ostinato variations (multiple repetition of the theme in the pedal). The pedal keyboard is quickly mastered. The student stops looking at his feet. A comfortable fit behind the tool is formed. There is movement freedom when playing with the feet. The search for register paint for each variation contributes to the study and memorization of organ registers. Melody variation develops intonation skills, pitch and melodic ear. Variation of texture while maintaining its harmonic basis develops modal and harmonic ear.

Before the start of classes, it is advisable to hold a meeting dedicated to the topic of the origin of the organ (mythology, the device of the hydraulic system), drawing on historical information about the role of the organ in ancient musical culture. Also introduce the structure of a keyboard-wind instrument and some terms of organ building, with the disposition and main groups of registers (using the electronic model as an example). The beginner's repertoire should not be overloaded in terms of text, because. the main attention is paid to adaptation to the instrument, "growing" into the organ sound, the initial mastering of the coordination of movements of the arms and legs.

Pedal exercises are in progress in parallel with the pieces.
Pedal exercises of the initial stage of training contribute to the development of the pedal keyboard in the G-g range. As the child develops and grows, the range increases
For spatial orientation in the pedal keyboard, it is necessary to fix the reference point - the “do” key of the small octave.

At first, these exercises are performed in C major and involve only the “toe”, then black keys are gradually introduced and the heel is involved. Gradually, various interval ratios in various combinations are mastered. Melodically, these exercises are as close as possible to the typical revolutions of the pedal part of organ literature. In the process of this work, the student willingly performs creative tasks - composing small melodies (including a double pedal). Later, you can connect a small counterpoint to the pedal melody (for example, from stable triad sounds) in the right hand, then in the left hand. This method develops coordination and further serves as a step in learning an organ composition (right with a pedal part, left with a pedal part, then joining together). For the development of pedal technique skills, it is useful to learn excerpts from organ compositions: themes fugat, fugue, pedal solo in different keys (see Appendix).
As you know, the performance of an organ work requires careful articulation of the entire fabric of the composition, especially polyphonic. Working on voice leading, articulation, phrasing, it is necessary to achieve from the student a meaningful pronunciation of the musical text. The use of agogic nuances is most revealing in the work on plays of an improvisational nature (preludes, fantasies, toccatas). Agogics emphasizes the change of harmonies, gives freedom of expression in recitative sections, defines the final cadenzas. In order to form registration skills (along with the assimilation of traditional rules), the method of independent work on the material of familiar music is effective - for example: program pieces from the Children's Albums of P. Tchaikovsky, G. Sviridov and others (arrangements). Such work includes the initial practice of performing transcriptions for the organ.
Mastering the elements of improvisation (baroque style of performance) is recommended to start on the material of the plays of A.M. Bach. Before the start of classes, it is necessary to acquaint students with the table of decorations by J.S. Bach (V.F. Bach's clavier book). It is recommended to listen to recordings (French suites, small preludes performed by G. Leonard, etc.) of an authentic performance of early music - this brings up the taste and helps to overcome the constraint of traditional performance.
On the basis of Bach's doubles (8a, 8b, 13a, 13b, 20a and 20b) and the analysis of texts No. 3 and No. 4, the student is invited to vary the repetitions (: II) in the pieces (chosen for this purpose for each student), as was customary in the Baroque era. In minuet No. 7, it is proposed to vary the performance of the theme, which runs 6 times without change, using the techniques of filling the triad with passing sounds, rhythmic changes (dotted line, Lombard rhythm), changes in articulation, stroke in various combinations and the use of decorations. In the process of such work, it is advisable to use the author's text (urtext) so that the student can mark his own version of strokes, articulation, embellishments with a pencil, as well as put down the registration, change of manuals and fingering.

To get acquainted with the coloring technique, the choral arrangement “Wer nurden lieben Gott lasst walten” (No. 11) is involved. Bach's coloratura of this choral prelude is analyzed from the point of view of the relationship between text and music. A translation of the texts of two more chorales, which Bach quotes with accompaniment, is required. It is necessary to write out the main tune of the chorale (cantus firmus) and compare it with Bach's processing in the process of work. The student's attention is directed to the disclosure of intonation, the use of various intervals, the harmonic plan of the entire work, the direction of the melody movement, the use of melodic variation techniques (singing the basic tones, filling in the intervals, splitting durations, using various decorations, etc.) Emphasis is placed on reflecting these moments performing means (articulation, agogics, ornamentation). Classes with a student in this composition technique are a complex creative process that cannot be reflected on paper. A student version of the coloring of aria No. 26 is presented in the appendix.
The "taste for composing" can be developed further, drawing on the coloristic possibilities of the organ, in composing small pieces of an associative-pictorial nature (see p. Application ).

Composition of variations on basso ostinato

Work plan

Analysis in the class of works of this genre (Purcell, Handel, etc.)
Acquaintance with J.S. Bach's passacaglia
Theme harmonization
Development of texture models
Registration
Drawing up a register plan is possible according to the principle of form dynamization, taking into account the gradual compaction of texture, intonation diversity and the rhythmic pattern of each variation.
Performance without interruption on an incomplete recording - only the initial "formula" of each variation

Such work prepares the student for more complex creative tasks with elements of improvisation in the old genre of organ literature - the passacaglia. In the process of this work, the fifth move in the pedal part (T-S, D-T) is well mastered, the octave distance is memorized and the harmonic turn typical of tonal music is practically mastered. In high school, this task becomes more difficult. For the pedal part, an 8-measure theme is given.

This theme was used by Purcell, Handel, Bach and other composers in composing plays of variational genres (chaconne, ground, passacaglia), as well as in the organ practice of Western Europe, improvisation on a given theme in the passacaglia genre was a necessary condition for the competition of organists for a vacant position in the cathedral ( Germany). Thus, the student gets the opportunity to practically get acquainted with the ancient genres of organ music and organ practice. An important factor in such music-making is the development of registration skills, since each variation must have its own color and occupy a certain place in the construction of the form.
Additional requirements for high school students include the following points: the introduction of imitations, elements of complementary rhythm, "echo", as well as the construction of motives and the gradual complication of texture and dynamization of registration.

An approximate list of repertoire for the initial stage of training.

4-5 grades(1st year of study)

"Old plays and dances of Western European composers" (compiled by S. Lyakhovitskaya)

I. Pachelbel Sarabande (No. 5)
G. Boehm Prelude (No. 9)
I. Kunau Prelude (No. 10)
D. Scarlatti Larghetto
I. Pachelbel Gavotte with variations (No. 25)
G. Handel Chaconne (No. 27)
G. Handel Sarabande (No. 28)
G. Handel Minuet (No. 30)
(Pedal in pieces is written out by the teacher)
J.S. Bach Notebook of A.M. Bach
Minuets Nos. 3, 4, 5, 7, 14, 15, 21, 36
Arias Nos. 20a, 20b, 33
Polonaise Nos. 8a, 8b, 10, 24
Musette №22
Marches No. 16,18
Plays No. 13 a, 13b, 42
OLD ITALIAN VERSETTOS. Organ Compositions (Budapest 1950)
D. Tsipoli No. 29, 32, 33, 34, 35, 37, 39
(In domestic collections for piano
these pieces are labeled as fughettas)
D.Zipoli Pastoral
A. Banchieri Sonata
Wybor utworow z XVII i XVIIw. Krakow 1957.
G. Purcell Minuet
G. Purcell Trumpet tune
HISTORIA ORGANOEDIAE (Budapest Z. 7922)
Volume#3
C.Merulo Preamble
Volume #4
V.Bird Pavana
"Les Maitres frangais de 1"Orgue aux XVTI et XVIII siecle Paris"
N. Le Bag "A la venue de Noel"
G.G. Niver Prelude 2 tones
N.Sire Prelude in the tone of salt
C.Balbatre Variations on "A la venue de Noel"
A.Raison Passacaglia
J.Dandrie Fuga on the theme "Ave maris Stella"
I. Pachelbel 3 dances from suite As-dur: Aria, Sarabande, Gigue
I. Pachelbel Choral prelude a-moll (Pedagogical repertoire. Reader 5th grade)
I. Pachelbel Organ works (Peters)
Fugue in C
Fugue in A
Fughetta (optional)
P. Tchaikovsky Children's album (arrangement):
"Morning Prayer"
"The organ grinder sings"
"Old French Song"
"German song"

5th grade(2nd year of study)

G. Purcell Prelude
volunteer
A gross in gamut
O.Lasso Reachercar
T.Tullis Reacherkar
Thomas (de Santa Maria) Fantasy
A.Cabezon Differencias
F. Lombardo Partite sopra Fidele.
D.Vincenti Due versetti
B. Pasquini Toccata
Variations
D.Carissimi Fughetta in A minor
G. Julien Fuga on "Ave Maris Stella"
Verset 2 tones (Sanctus)
Prelude 1 tone
Dialog
Fantasy cromatique
L.Sezhan Prelude and fugue on the theme of Kyrie
J. Chambonière Chaconne
J. Bovin 2 pieces 2 tones
N. De Grigny Dialogue! V tones
N. Le Bag Offertory
N. Zhigo Prelude
E.Richard 2 pieces for organ
A.Reson Echo
L. Daken Noel
Musette and tambourine
J. Sweelinck "Allein zu dir, herr jesu christ" (hor.arr.)
J.S. Bach Two-Part Inventions (optional)
Little preludes and fugues (optional)
J. Kuharzh Fantasy
A. Gedike Prelude
choral
A. Lyadov Canon in G major (arrangement)
S. Rachmaninov Canon in G major (arrangement)
N. Myaskovsky In the old style (fugue)
M. Glinka Double Fugue (Doric)
S. Slonimsky Khorovod
E. Grieg Watchman's Song (arrangement)
Lullaby (arrangement)
A.Skulte Arietta
G.Komrakov Organ alphabet (pieces for children)
Flute Ensemble
Register roll call
The song of the old crumhorn and the sad shawl
naughty button
G. Sviridov Album of plays for children
(plays by choice, transcriptions)

6th grade(3rd year of study)

I.M. Bach
J.K.Bach
W.F. Bach
I.N.Bach
J.K.Bach
I.Fisher
I. Pachelbel
G.Böhm
S. Scheidt
S. Scheidt
I. Pachelbel
I. Pachelbel
I.Krebs

A. Banchieri

A.Gabrieli
frescobaldi
F. Couperin
S.Frank
M. Glinka
V. Odoevsky
A. Gedike
V.Kikta
E.Arro
A. Eshpay
A. Muravlev
I. Brahms
A. Dvorak

B. Sour cream
I. Ko dai
F.List

7th - 8th grades(4th year of study)

G. Purcell
N. Izaak
W. Luebeck
I.Krebs

J.P. Sweelinck
D. Daken
J.E. Bach
J.S. Bach

Vivaldi-Bach
Vivaldi-Bach
A. Boeli
S.Frank
S.Frank
C. Saint-Sanet
Bellman
E. Gigou
G. Berlioz
J. Lenglet
V.Kikta
Yu.Butsko
D. Shostakovich
O. Messiaen
J.S. Bach pedal exercises

Notebook of A.M. Bach
Prelude No. 29 (Pedal is written out by the teacher)
Choral treatment No. 11
Organ Works Volume V (Organ Booklet)
Choral Preludes No. 20 (fughetta)
30 BWV 639
52,53
Choral prelude "In dulcejubilo" Volume IX
Prelude Pro organo pleno volume VIII

Partita "Wenn wir in hochsten Noten sein"
Prelude in E minor
Chorale arrangement "Wir Christenleut hanjetzung Freud"
Choral adaptation of "Da Jesus an dem Kreuze stund"
Choral arrangement "Warum betrabst du dich, mein Herz" Preludes and fughettas (optional)
Choral preludes: "Was mein Gott will", "Durch Adams Fall ist ganz verdebt", "Meine Seele erhebt den Herreh"
Choral Prelude "Allen Gott in der Hoh sei Ehr"
Choral prelude "Vater Unser im Himmelreich"
Variations on a Dutch song
Chaconne d-moll, chaconne f-moll
Toccata in g, toccata in e, toccata in d
Little preludes and fugues:
№1 (C-dur)
№4 (F-dur)
No. 6 (g-mollx
№8 (a-moll)
Battle
Canzona
Dialog
Reachercar arioso
Toccatas from the cycle "Musical Flowers"
Canzones from Volume II (optional)
Numbers from the Organ Masses (optional)
Pieces from the collection "L "organist" (optional)
Fugue As-dur (Collection of organ pieces. Issue 2. Kyiv. 1980)
Piece for organ (Findeisen. History of Russian music)
7 pieces for organ (optional)
Little pastorals
five contrasts
Estonian folk melodies (arrangements)
Prelude for Organ
Idyll (for organ)
2 chorale preludes op. 122
Preludes: A minor
G minor
B flat major
D major
2 preludes
prints
Adagio

Suite en UT; "The Bells" (Passacaglia)
Chorale adaptation of "Herr Gott, Lass Dich Erbar Men"
Prelude and Fugue in C minor
Little Preludes and Fugues: B Flat Major
D minor
E minor
Fantasies (in Major), Echo
Noel
Fantasy and Fugue in d-moll
Organ book. Choral preludes:
BWV 614, 605, 628, 601,603
Variante No. 52 (supplement), No. 47
Fugue in G minor Volume IV
Fantasy with imitations IX volume
Pastoral in four parts, Volume I
Prelude and Fugue in E minor
Prelude and Fugue in C minor
Concerto in D minor
Concerto in C major
Fantasia and Fugue in B Flat Major
Cantabile
Prelude, Fugue and Variation
Rhapsody #3
Parts from the Gothic Suite
Toccata
Serenade Agreste
Prelude and Epilogue from the Suite "In Memory of Frescobaldi"
Organ suite "Orpheus"
"Polyphonic Variations on an Old Russian Theme"
Passacaglia from the opera "Katerina Izmailova"
"Heavenly Communion"

The use of the method of creative music-making in music education is a characteristic trend of contemporary music pedagogy. This method is reflected in the training programs in solfeggio and piano classes - melody harmonization, accompaniment selection. Creative music-making in the organ class reveals many aspects of vocational training, reveals the student's creative potential, opens the way to the nature of organ art - the high sphere of improvisation.

Literature

I. Braudo. On the study of Bach's clavier compositions at a music school. L. 1979
N.Kopchevsky. Johann S. Bach (historical evidence and analysis of performance and pedagogical principles). Questions of musical pedagogy. 1 issue M. 1979
M.Caponov. The art of improvisation. Issues of history, theory, methods. M. 1982
S.Maltsev On the psychology of musical improvisation. Library of the musician-teacher. M. Music 1991
L. Barenboim The path to music. L. 1976
I. Braudo About organ and clavier music. M. 1976
T. Livanova History of Western European music up to 1789. M.L. 1940
L. Roizman Organ music making. Questions of musical and performing arts. Issue. 3.
I. Tyurmin Modern improvisational music and its model foundations as a means of aesthetic development of the individual. Abstracts of speeches at the conference of teachers. St. Petersburg. 1997
S.Maltsev Early learning of harmony is the way to children's creativity.
A. Alekseev Improvisation as the basis of the performing arts of the 16th-18th centuries. History of piano art. Part I. M. 1962
V.Ozerov, E.Orlova ways of improvisation. Information center on objects of culture and art. Express information. Issue. 2.
N. Bakeeva Organ. Series "Musical Instruments". M. 1977
F. Makarovskaya Creative music-making as a method of musical education. Questions of methods of primary musical education. M. "Music" 1987
H. Lepnurm History of the organ and organ music. Kazan 1999
Y. Evdokimova, N. Simonova Music of the Renaissance. M. "Music". 1982
E.V. Nazaikinskiy Style and genre in music. M. "Vlados". 2003
E.D. Krivitskaya. History of French organ music. Publishing house "Composer". M. 2003
R.E. Berchenko In search of lost meaning. Publishing House "Classics XXI". M. 2005

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* Development of a system of creative tasks and practical exercises, as well as student essays are presented in the application