In article <RRQgi.7581$G85.6233@[EMAIL PROTECTED]
>, "Arthur Ness"
<arthurjness@[EMAIL PROTECTED]
> wrote:
> Anyway, playing from open score's a good skill to develop, and if you
> want to give it a try, I think the best approach would be to use the
> Morris/Ferguson "Preparatory Studies". They are still in print
> and the music's rather nice, too. It might be too difficult and too
> discouraging if you tackle the Art of Fugue right off.
Playing from an open score is a really useful skill for organists
who have to accompany choirs.
The late Sir Malcolm Sargent was sub-organist at Ely Cathedral
when Dr Haydn Wood was Organist. He was instructed to play the
SATB lines with the choir for rehearsal purposes, and ignore the
organ part. This enabled him to read orchestral full scores better
when he took up conducting.
As a young organist, I was encouraged to play the top line of a
SATB hymn tune on a solo stop with the right hand, the bass line
with the pedals, and the tenor and alto lines with the left hand.
This is an invaluable skill for any church organist who has to
play for a congregation without a choir, to teach them a new tune.
My introduction to the dreaded C-clef was when I wanted to learn
some Bach choral preludes for Organ, published by Edition Peters
as "Urtext". My heart sank when I saw that the LH part was written
in the C clef (Dies sind die heil'gen zehn Geboten BWV 678);
but as the LH part was reserved for the Cantus Firmus in canon
on the octave, I gave it a go: and found it a piece of cake.
I have not yet ventured into the Clavierubung Part IV; but I think
I'll chicken out and order the short-score version!
Ben
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> ZFC W
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