Offertory hymn continuation techniques

[Soubasse]

I'm confused - stoplist should be there, it's about a third of the way down the page, before all the shots of the console (which are at the bottom of page).

What a gorgeous case!

Aye, 'tis nice isn't it - Tasmanian Oak, grows beautifully out of the panelling and choir stalls. It's a nice building, my wife and I were married there 11 years ago, so it continues to hold happy memories.

Always funny as that is when members wondered what the name of the piece was/or composer...Had to laugh to myself.

Yes, I know that one too! It's kind of fun saying "err, well it's titled "Improvisation No. 3,467" by yours truly!"

 

[Krummhorn]

. . . It's a nice building, my wife and I were married there 11 years ago, so it continues to hold happy memories.

And, you did play for your own wedding, right?

I actually did just that for wife #2 ... the chapel had no "live instrument" not even a piano, they used canned music ... so I recorded myself and they played the tape I created. They still use that music today as they liked it so well.

 

[Soubasse]

And, you did play for your own wedding, right?

Hehe Was sorely tempted! I did the next best thing and wrote two pieces especially for the occasion. We're both musicians (she's a most formidable one too, I know no-one who sight-reads as well as she) and we had a surfeit of friends willing to contribute. There were two organists playing a duet I wrote as the recessional. We had also taken a shine to a Shakespeare sonnet which I set for two sopranos, tenor, harp and organ and that was performed after a reading of the sonnet. One of Cheryl's pianist friends played a Beethoven sonata (superbly) during the signing of the register on the chapel's very nice grand piano. There was also some Faure from the harpist and the Alain Choral Dorienne (from one of the organists) amongst other things. I also turned out some beefed up hymn arrangements for the day too (which I remember the sopranos really got into during the descants!). Our invited guests were informed beforehand that they would be attending a free concert with a little bit of a wedding ceremony in the middle. :grin:

You had the right idea though Lars, I'm assuming it was an appropriately oversized instrument that you recorded for the day?

Apologies to Bach>Meer, we are hijacking your thread!! I hope you have some useful information from some of our previous posts in regard to hymn extemporisations

 

[Contratrombone64]

Soubasse - sounds lovely

 

[Krummhorn]

. . . You had the right idea though Lars, I'm assuming it was an appropriately oversized instrument that you recorded for the day?

It was an early Allen Digital (installed in 1972), II/44, in the church where I was the organist for 15 years (1965-1980). Had a full antiphonal organ there, too ... completely filled the 750 seat sanctuary.

 

[Contratrombone64]

It was an early Allen Digital (installed in 1972), II/44, in the church where I was the organist for 15 years (1965-1980). Had a full antiphonal organ there, too ... completely filled the 750 seat sanctuary.

750 seat sanctuary, surely not? Isn' the sanctuary where all the clergy and servers hang out; at the front of the church just near the altar? If so, it must be an enormous church!

 

[Krummhorn]

Hi David,

The 'sacristy' is where all the clergy dudes hang out and tell jokes and stuff prior to services. In the US, the 'sanctuary' is the edifice - the building - or more properly the "Nave".

It was a beautiful room acoustic wise for the organ - an honest 3 seconds of natural reverb ... that is until they put in the stupid pew cushions ... then it went to negative 2 seconds where the sound stopped before I took my hands off the keys, similar to my present church.

 

[Bach>Meer]

Hi all

Thanks for these - especially the sound files - fantastic!

how exactly do you lead in from the last chord of the last verse? I've heard a few organists go into unison and then after that lead in, they begin their extemporisation.

Can anyone advise on the techniques for this?

thanks

 

[Contratrombone64]

Lars - thanks for the clarification! I know what you mean about "stupid pew cushions..." the congregation must learn to put up with some pain, if they want gain, eh? Get rid of 'em (the cushions that is).

 

[Soubasse]

how exactly do you lead in from the last chord of the last verse? I've heard a few organists go into unison and then after that lead in, they begin their extemporisation.

That's obviously one way, there are numerous others and again, for most it would be down to the moment. Most congregations will stop singing when it's obvious that the organist is continuing on, so there's really no need to worry about them. If I've wanted to make the last verse's last line quite clear, I'll tend to make the rit a bit more molto, then carry on a tempo with ... whatever. Sometimes, let go of the chord and leave the pedal down, then plant some more chords on top, or vice-versa, hold a note or two in one hand and add some more underneath (probably best to avoid restating the hymn tune in case the congregation think they need to start singing a verse that's not there!). Sometimes, instead of playing a complete tonic chord at the conclusion of the verse, I've used a suspended 4th and not resolved it until several chords later (another way of drawing things out and making it clear to the congregation that things are going on for a little while).

 

[Krummhorn]

Lars - thanks for the clarification! I know what you mean about "stupid pew cushions..." the congregation must learn to put up with some pain, if they want gain, eh? Get rid of 'em (the cushions that is).

Amen to that ...

Hi all

Thanks for these - especially the sound files - fantastic!

how exactly do you lead in from the last chord of the last verse? I've heard a few organists go into unison and then after that lead in, they begin their extemporisation.

Can anyone advise on the techniques for this?

thanks

For my congregation, I need to make the transition clear that we are not starting an extra verse ... it's like herding cats sometimes.

Although it's extremely rare (in my church) to follow a hymn with an extemporization or interlude, when it does happen, I will hold an open fifth (sometimes adding a fourth as well) with the left hand (8' foundations stops), and then employ open fourths in the right hand (the tune is the upper note and the fourth is below).

Interestingly enough, this happened last night for our Holy Thursday service where the congregation sang a hymn that lead into the foot washing segment.

As you may have guessed, I love the sound of open fourths ... makes for a very interesting sound when ending an improv in F major, with a G and C in the right hand, ending without resolving to the major chord. Perks peoples eyes and ears - something quite different waiting on the edge of their seats for the chord to resolve, and when it doesn't, even more unique.

Other times, I will resolve the chord, or for a little more spice, add the fifth and third (from the bottom: F, G, A, C) in an F major ending.

All it takes is some experimentation in your practice sessions, then employ some of those during the service.