Rinks Practical Orgau Srhoal CAREFULLY REVISED: WITH THE GERMAN DIR 10} AND TERMS TRA ATED INTO ENGLISH And the Pedal Part printed om x separate staff W. C. Hest. Bowd in Cloth, price t22., 07 in Six Parte, 26, 64. ech, PART 1 PART 4 Paonen Nos, 169 t0 174.—tilteen Portlules, ue Concluding Valuntaies, fr Nos. 110 t2.—Short and exny Hercies in to parte alternate Manuals in the Fugue Style to. wr parts Panes 537 € 67.—Thirty Prelndes in sl the Major and Minor Keys Nos. 175 t0181.—Seven Preludes att Fox PART 2. No. 182-—The Fate Concer, Nos, 68 to 152. —Exercses fr the Pedals vy 183—Variations on" Be DIC am Steges Aram.” ow 1 wellknown German Psalm Tunes, save the King vane 3. PART 6. Nos. 295 t0159-—Hilleen Hany Postludes, or Concluding Voluntares, i Now. th to 192-—Nine Preludes and Fo the Fugue Style 193 and t94—Fantasc and Fuge Op. 55 Loxpox: NOVELLO AND COMPANY, Lisi,PREFACE. 1 nave been frequently requested by near and by distant friends, and other admirers of Organ Playing, 1 publish some niore short and easy ‘Organ Preludes for the use of that noble Instrument. Te compliance with wich wishes, I have produccd the following Six Looks of Organ Pieces, published under the eolletive ttle of a * Practical Organ School Pax I-—contains Twelve Short and Easy Picoes in two parts (Nos. 1 to 12), Twelve in three parts (Nos. 18 to 24), and Twelve in four parts (Sos. 25 0 36), as Inroductory Exercises The Pieces in three and four parts may be played without pedal; although I have in some places Indicated where a pedal may be used. ‘These are followed by Twenty-four Preludes in the twelve mejor and twelve minor keys, with Six i the less sisal keys, Cf, Gb, Cb major, and G4, DE, and A minor (Nos. 37 to 66)—the shole calculated to be used before the giving out of a Fsalm-Tune or Chorale. jn the notes actually struck, there is really no diference between the major keys of Cf and DP, GP and FB, C> and B, or between the minor koys of GF and Ao, DB and £b, AF an tip; but I thought it beter wo introduce Preludes in these uncommon Keys in order that the Student mig Ibecome familiarized with their peeularty 1m support of my recommendation of such Exercises, it may be enough to quote the opinion of my ever-dear master, the late Mr. Kirra, Organist ‘at Erfare (the latest living pupil of Jou Stiasrian Bact), who strongly advised practice in all the keys. The same course of study is also enforced by the Father ofall Organ Players, the great Jon Sepasviaw Bact himelfwho, n is Forty-eight Preludes atl Pues Bee Mlahiomprcie aes has given two Preludes and two Fugues in each and every ofthe twelve major and twelve minor keys. ‘An Orga Player should obtain such facility in mastering every key, as to overcome every dificalty, however presented, My many years’ experience as a teacher, has tanght me, that students find most dificalty in becoming tamiliar with Solo Obbligato Playing { would therefore strongly impress on the beginner, diligenly to practise the Hntroductory Exercises (Nos 1 to 30), and muster them thoroughly before proceeling to the Preludes, His progress will then be regular, with marked improvement, and he will be saved trom the discouragement of encountering difficalties he is unable to overcome. The Exercises and Preludes have been carefully constructed of proxressive diteulty, Pax V.—eonteins Pedal Exercises (Nos. 67 to 132), Twelve Chorales, or wellknown German Pssim-Tunrs, with Variations (Nos. 138 to 148) Panr IIL —contains a Collection of easy Poeaee, oF concluding Voluntaries, in the Fugue style (Nos. 14) t0 154). Pax 1V.~contains a Collection of similar Pieces (Noa. 160 to 17H, for mare advanced Performers Draw V.—conisins various Organ Pigeas (Nos. 175 to 188), in the Pree Style PPaur VI (and last)—contains Miscellaneous Organ Pieces, Grand Fugues, Preludes, and Variations, for accomplished Performers (Nos. 184 t0 195). have been prevented from giving more than general directions for the proper stops to be used by the diferent magnitude of Organs, and by the disparity in their stops. 1 have expressed only ayft stops or fd stops (by the latter I would indicate that the mixtures cornet and sesquiatera are sill to be omitted), and Fad! Organ. If an Organ have two manuals (or rows of keys), the soft passages may be played on a Flute (of eight fet) ‘oF Diapason ‘Care should be taken not to hurry the time in any movement, and not t0 take the Tempo too fast 1k is my earuest wish that this Organ School may be found a useful contribution to aid the progress of stulents in Organ Playing. My frst intention was to have included in my plan, the theoretical part of Organ Playings but that has been abanoned ia feur lest the work should be made {oo voluminous. Tmay mention that the works which have preceded mine ares Kerman. —Bee anette prckcke Orgnsy 3sheie (The commencing practieal Organist, in three parts). Kort rge ete ae (Organ Selo, i ikve parts) ‘Ton. —emtehige BRiien ines @rgenatn (The Important duties of an Organist) Wansen —@aget Atul (Organ School) THE AUTHOR.- Binks Practical Organ School. PART L. EXERCISES IN TWO PARTS. Alla breve, —— el a Allegro. Allegro moderato. N22. Andante, Moderato. +e NOS:Moderate fe] Andante. we Moderato. ot Allegro. sol Andante. Ne oe Moderato.Moderato. N° 12. ete te, Andante, EXERCISES IN THREE PARTS. N13. if Moderato. N?14. Arwlante, N15: Moderato. 2 N° 16, iO yeAndante, N17. Manuales[’ Pedate. Moderato. W988. (Gt === Manual = Pedate. RG Moderato. Ne vod es a Andante. wie. ( fas Manuale-<[” = Pedale.Andante quasi Allegretto. WV? 22. Manuale. Pedale. Moderato. -¥P 23. fear “fa Wie Andante. EXERCISES IN FOUR PARTS. Alta breve, V2.25. Allegro. VP 26.Andante. 927. 1 = Allegrett Moderato, sap A Bett ann Gis 25 —— ne Tn TS ae a (e Andante. & = MSL 5 th a Andante, = N32. = Manuale Pedale.Moderato. Allegretto. N° SH. Moderato. N35. Andante. N36.THIRTY PRELUDES. ° IN ALL THE MAJOR AND MINOR KEYS. ¢ maor. |Moderato, (A minor oe ; RF V2 38, fst Murterato (a masoR,) 239. copW240. Andante, (E MINOR) iP cox)2 Moderato. ( mason.) N41 FF Moderato. {8 MINOR) 42. OF >fe fea W243,Andante, (F swap MINOR} M44, “on (ce mason yEe- W465.(c SHARP minor.) 7(0 wajony Moderate aa N°47. oe 1 br Andante. eae (g SHARP MINOR) N48.445 9p * ay 7 a a en aa |(F SHARP MAJORS) ¥249,.d[7 moteraty 65Andante. ee (0 SHARP MINOR. NO50.8) optsIn the Choral style. as fc snare maloR.) Fe pera: fm pt SF (A SHARP MINOR.) — 52.-0[° andante. ge— Andante, : (© mason) N53,Moderato. (0 MINOR.) a Fan an NSA ©22 Moderato. —— (8 FLAT MAJOR) =) W955. pe (6 MINoR,) Andante. ee NW? 56. woPModerato. a (e FLAT MAJOR.) a (on p.a Ce fo minor, 58 pe Andante. (A FLAT MAJOR.) py -—————~ N9S59. oy PLi t Faeiesia~ reo = = See, : Moderato, (F MiNoR) —_— ! | 60. (o a a - : J i edt : = i ee o. i ; = 5 eS . i oS eee a = ————_. , : - i tse : eo 7d r eae 2 a 52 Moderato. (0 Fuar maton) ) tfa Moderato, B FLAT MINOR) N° 62. wf8 Andante, (o FLAT MAJOR.) -—————_ —=—<—_ N63. Moderato (e FLAT MINOR.) N96. ©) ¢» Alla Breve: (C FLAT mason)a Andante. (4 FLAT MINOR.) WV 66.se PART II. Bink’s Practical Organ School. REMARK! 4 ere om Belle wee ein te et pt of my ra By mista ln yb {Tbe sunbers fam 609 catia exercises one He ma af ag the pe cei wo decentingftermon hid, rt fhe echo * % wt he same eee et ao ee vf ‘vert tree en oer pa “theese ory rato peor ein ny \CThowererbes erfertt ithe Rey ot @imjor na be payed sting te pa perform ie eyo Gad F anjrs ai them snares 2°67, 68. Ra eresns Oya. th tae at as Sat = feet es ewe ete a tggunon, meio Sui eee d wane fatenee Es 2 101, 192- nagemyS Wk b eee geen enemas aia 108. away PREBLE RL Parser rie) nyt tin yniains —-s Se ere == oI, eye aE =33 Jos. 109 ; (eee aay tape sees eer cee mFS ae S Sy ri ye os Seen eee eet Ripe foo. mitgor EAD Lettfoot, night foot._ 132. s " t icin foot et cae 7 = ISS Rigat foot : Lerttoat — LeFeoot Sites- TWELVE CHORALES WITH VARIATIONS. cHorate.—“Shum sich der Tag geendet hat” N2133. 6 BE amiasniox. fF = 24 UCR: — muon os Pao any MancaLs— in maken PAROS: af (1 hg ]cHoraLe. “Shun cuhen alle Uaaler.” (or) aa t N° 134. P98 CHORALE. “Sache dick mem Geist beveit.” (en > V9135.-2) 2! = FOX Pwo CLAVLERS 7. rer . 2 i as \e poo“ CHORALE, “Wer nur den lieben Gott Lisst alten.” (os) ij od 7 ; s j N?136. i typo ad ai > RETR: yon wo cumin P (em) TET Sempre staccato legato. rs a, hr 1 tenia2dCHORALE. “Qe schiin leucht uns der Morgenstern.” : > NST p= (oe) a) id 7 de dl $F Oe a 766 i + 87 edd Mi dy ey 7 as i ee ” iar: aypeas Benea Fino On Two CLAVIERS AND peoAL, metoa¥ IN PEDAL AND MANUAL, eet afa“ Var3.CHORALE “Allein Gott in der Moh sey Ehr.” , ! A pe 9139. Pa oy ae eT tt) 3 odd jade wee (CieCHORALE -“© Jesu Christ. meines Debenslicht.” = = (es ee mn ea gigs ae pe ae Vous0: y Sea tT reo a + ot gle gy grRea Travel Vigne. 3. son vve cuaviens amo peoas #1100" 00H 1ENDN AHO PLgeese tes —— ee CHORALE -“ Auf Christenmensch, aut,” .56 Var. mevooy im re Pepa.ae meaie-e— eels eo Tak Bee teseeCHorALE “@@Mir glauben all’an einen Gott.” Ee (@ Per) a) 7 (a!)Tar.80 FIR AL tay sey cuniens alescHorate -“Here Sesu Christ dich yu uns tend.” (ens, W213. ee ri Hl ese 7 ae aes rele (105 pee peat (4) a =e (ed dee 3 ° Vag. (run seo) 3 mf =IN CANON R38.VaR. Mevooy 1 THe Tenor, 128 ms exanis =~ TT ed = * t + 2 seg fiAR-D. 108 1s casieesCHORALE ~“Biebster Desu wir sind hier.” eo Tm om, oe EF tea EF ae Try rs iN ; ; ¥ r ye Fi cod = Fea. 2. son vvo ccasiens. oy oouaie coonreerounrFar. 3.