MUSIC 116R LISTENING EXERCISE

The purpose of this exercise is to deepen your ability to identify by ear some of the most important organ sounds. Whenever you hear an organ, you should be able to identify the main characteristics (primary type of organ registration, pitches, families) of various stops or combinations. Eventually, given a piece of sheet music, you should be able to hear in your head the sound that you want, and then register it accordingly.

You will be given full credit on the assignment if the sheet you turn in to your instructor demonstrates that you followed the instructions AND that there is evidence of good listening and thinking. Feel free to compare what you hear with stops that you can identify on the lab organs.  You will NOT be penalized for incorrect answers.

To complete this exercise, you will need the following in addition to the exercise below:

  • headphones at one of the organs in the organ lab (be sure that the organ is on)
  • the 116R Listening Exercise on the computer desktop (this is it)
  • a sheet of paper on which you will write the exercise
  • a pen or pencil

 

Instructions: EITHER COVER UP OR SIMPLY AVOID READING THE LEFT-MOST COLUMN BELOW!!  On the 116R Listening List, click example "1. J.S. Bach, 'In dulci Jubilo.'”  While listening, write the answer to the the question on your paper in the left column.  Check your answer with answer given in the left column below, making sure that you understand the correct answer.  Make the correction on your paper, and then proceed to the next example.

 

On your sheet of paper, mark an “X” next to the pieces that you might enjoy playing some day.

PIECES FOR MANUAL AND PEDAL (EXAMPLES 1-40)

a. reed (Krummhorn)

b. flute (8’ and 4’)

 

1. J.S. Bach, “In dulci Jubilo

      To what family of organ tone do the stops belong in

      a. the right-hand part? 

      b. the left-hand part?

solo/accompaniment (note: there are two parts or more [the left hand has two parts by itself], and ONE PART is prominent)

 

2. Léon Boëllmann, “Verset”

      What registrational type is used?

trio (note: there are only two manual parts, and BOTH parts are prominent or more melodic)

 

3. David N. Johnson, “It Came Upon the Midnight Clear”

      What registrational type is used?

chorus (principals 8’ 4’ 2’ and mixture V; note: there are two parts or more and NO part is prominent—they are played on a single manual with pedal)

 

4. Johann Christian Bach, “Aus meines Herzens Grunde”

      Which registrational type is used?

flute (8’ and 4’)

 

5. Johann Christoph Bach, “Mit Fried und Freud ich fahr dahin”

      To what family of organ tone do the manual stops belong?

flute (8’ and 4’, with an 8’ and 2 2/3’ echo)

 

6. Domenico Zipoli, “Pastoral”

      In the first section of the piece, to what family of organ tone do the manual stops belong?

bright (8’ 4’ 2’ 1 1/3’)

 

7. Johann Gottfried Walther, “Wachet auf, ruft uns die Stimme”

      Would you say that this combination leans in the direction of “bright” or “warm”?

b. mutations (flutes 8’ 4’ 2 2/3’ and 1 3/5’—almost a full cornet!).  Compare this to the reed solo in example 1.

 

8. Jean Langlais, “Prière”

      In the solo part, the color is achieved by:

      a. using a reed stop

      b. using mutations

a. reed (Hautbois [Oboe] 8’).  Compare this to the cornet-like combination in example 8.

 

9. Marcel Duprè, “Abide With Us, O Lord Jesus Christ”

      In the solo part, the color is achieved by:

      a. using a reed stop

      b. using mutations

a. reed (Krummhorn 8’) Compare this to the cornet-like combination in example 8.

 

10. Helmut Walcha, “Herzliebster Jesu, was hast du verbrochen”

      In the solo part, the color is achieved by:

      a. using a reed stop

      b. using mutations

8’ only.  Compare to the 8’ and 4’ flutes in example 6.

 

11. Marcel Duprè, “Beloved Jesus, Here We Stand”

      The flutes in the RH and LH parts appear at what pitch level(s)?  8’ only, or 8’ and 4’?

Principal (8’ 4’ and 2’).  Compare to the more hollow flutes at similar pitch levels in example 20.

 

12. Johann Christian Kittel, “Allegro”

      Which family of organ tone is represented in this example?

8’ only.  Compare to the 8’ and 4’ flutes in example 6.

 

13. Marcel Duprè, “Glory Be to God on High”

      The flutes in the RH and LH parts appear at what pitch level(s)?  8’ only, or 8’ and 4’?

a. reed (Oboe 8’ with Rohrflöte 8’)

b. flute (Gedeckt 8’)

 

14. Josef Rheinberger, “Trio, Op. 49, No. 1”

      To what family of organ tone do the following belong?

      a. the RH part

      b. the LH part

chorus (foundations 8’ 4’ 2 2/3’ 2’ 1 1/3 [no chorus mixture]; note: there are two parts or more and NO part is prominent—they are played on a single manual with pedal)

 

15. Ernst Pepping, “Sonne der Gerechtigkeit”

      Which registrational type is used?

solo/accompaniment (note: there are two parts or more [RH and LH have one part each], and ONE PART is prominent [RH])

 

16. Franz Schubert, ed. J.J. Keeler, “Litany”

      In the first half of the piece, which registrational type is used?

8’ and 4’.  Compare to the 8’ flutes in example 13.

 

17. Friedrich Zachau, “Vom Himmel hoch, da komm’ ich her”

      The flutes in the RH and LH parts appear at what pitch level(s)?  8’ only, or 8’ and 4’?

a. reed (Trumpet 8’)

b. principal and flute (foundations 8’ & 4’)

 

18. Ernst Pepping, “Auf, auf, mein Herz, mit Fruden”

      To what family of organ tone do the following belong?

      a. the RH part

      b. the LH part

Family: flute.  Pitches: 8’ and 4’.  Compare to the 8’ flutes in example 13.

 

19. Ernst Pepping, “Gottes Sohn ist kommen I”

      Name the family and pitches in the manual part of this example.

mutations (flutes 8’ 4’ 1 1/3’—gap registration [2’ is missing])

 

20. Johann Pachelbel, “Vom Himmel hoch, da komm’ ich her”

      In the RH part, the color is achieved by:

      a. using a reed stop

      b. using mutations

a. chorus (note: there are two parts or more and NO [manual] part is prominent—they are played on a single manual with pedal)

b. yes (principals 8’ 4’ 2’ Mixture V)

 

21. Johann Pachelbel, “Ein feste Burg ist unser Gott”

      a. What registrational type is used? 

      b. Is there a mixture?

chorus reed (Trumpet 8’)

 

22. attr. J.S. Bach, “Prelude in G Major” (BWV 557)

      What single stop distinguishes this example from the manual combination in example 21?

a. chorus (note: there are two parts or more and NO [manual] part is prominent—they are played on a single manual with pedal)

b. no (foundations 8’ 4’ 2’ 1 1/3’)

 

23. attr. J.S. Bach, “Fugue in G Major” (BWV 557)

      a. What registrational type is used? 

      b. Is there a mixture?

reed (Krummhorn 8’)

 

24. Wilbur Held, “Awake, Awake to Love and Work”

      In the RH part after a few measures, the color is achieved by:

      a. using a reed stop

      b. using mutations

a. chorus (note: there are two parts or more and NO part is prominent—they are played on a single manual with pedal)

b. no (foundations 8’ 4’ 2’).  Compare to example 21, which includes a Mixture V.

 

25. Wilbur Held, “Ye Watchers and Ye Holy Ones”

      a. What registrational type is used? 

      b. Is there a mixture?

a. chorus

b. principal (16’ 8’ 4’ 2’ Mixture V)

c. yes

 

26. Johann Pachelbel, “Toccata in E Minor”

      a. What registrational type is used? 

      b. What family of stops is used? 

      c. Is there a mixture?

a. chorus

b. no (foundations 8’ 4’ 2’ 1 1/3’).  Compare to example 21, which includes a Mixture V.

 

27. attr. J.S. Bach, “Prelude in G Minor” (BWV 558)

      a. What registrational type is used? 

      b. Is there a mixture?          

a. chorus

b. 8’ 4’ and 2’.  Compare to example 17 (8’ and 4’ only).

 

28. attr. J.S. Bach, “Fugue in G Minor” (BWV 558)

      a. What registrational type is used? 

      b. What pitches do you hear:  8’, 8’ and 4’, or 8’ 4’ and 2’?

a. chorus.  Although rather thin textured, there are two parts or more and NO part is prominent—they are played on a single manual with pedal.

b. a high-pitched mutation (1 1/3’).  A mixture would be quite a bit stronger and brighter (compare to example 21).

 

29. attr. J.S. Bach, “Prelude in F Major” (BWV 556)

      a. What registrational type is used? 

      b. What stop is added in the last few measures?

a. chorus.  Bach preludes and fugues are intended for chorus registration.

b. no (foundations 8’ 4’ 2’ 1 1/3’).  If you don’t believe it, compare the beginning with the last few measures, when the mixture kicks in!

 

30. attr. J.S. Bach, “Fugue in F Major” (BWV 556)

      a. What registrational type is used? 

      b. Is there a mixture at the beginning?

flutes (8’)

 

31. David N. Johnson, “Bethlehem, of Noblest Cities”

      What family predominates in the LH part?

a. principal 8’ and 4’

b. flutes 8’ 4’ and 2’

 

32. David N. Johnson, “All My Heart This Night Rejoices”

      What family and pitches predominate—

      a. in the first section?

      b. in the second section?

a. chorus.  Bach preludes and fugues are intended for chorus registration.

b. yes (8’ 4’ 2’ Mixture V)

c. principals

 

33. attr. J.S. Bach, “Prelude in C Major” (BWV 553)

a. What registrational type is used? 

      b. Is there a mixture? 

      c. What family of stops is used?

a. chorus.  Bach preludes and fugues are intended for chorus registration.

b. no (8’ 4’ 2’ 1 1/3’).  A mixture would be quite a bit stronger and brighter (compare to example 33).

 

34. attr. J.S. Bach, “Fugue in C Major” (BWV 553)

      a. What registrational type is used? 

      b. Is there a mixture?

a. chorus

b. mostly flutes (foundations 8’ 4’)

 

35. Josef Rheinberger, “Prelude”

      a. What registrational type is used? 

      b. What family of stops is used?

a. trio (Did you see the title?)

b. principal (8’ 4’ 2’ Mixture V), in a rather unusual use of the principal chorus on a solo part.

 

36. Josef Rheinberger, “Trio, Op. 49, No. 6”

      a. What registrational type is used? 

      b. What family of stops is used in the most prominent part?

8’ 4’ (both in the RH and the LH parts).

 

37. Josef Rheinberger, “Intermezzo” (Sonata 3, Op. 88)

      What pitch levels are heard in the accompanimental part?

a. chorus

b. yes (principals 8’ 4’ 2’ Mixture V)

 

38. attr. J.S. Bach, “Prelude in A Minor” (BWV 559)

      a. What registrational type is used? 

      b. Is there a mixture?

a. chorus

b. no (8’ 4’ 2’ 1 1/3’)

 

39. attr. J.S. Bach, “Fugue in A Minor” (BWV 559)

      a. What registrational type is used? 

      b. Is there a mixture?

principal 4’ (played in the pedal) (Several 8’ flutes are used in the manual accompaniment)

 

40. Ernst Pepping, “Jesus Christus, Unser Heiland”

      What stop is used for the solo part?

PIECES FOR MANUAL ONLY (EXAMPLES 41-56)

a. a soft 8’ solo reed (Krummhorn 8’)

b. flutes 8’ and 4’

 

41. Samuel Scheidt, “Da Jesus an dem Kreuze Stund”

      a. What stop is used for the most prominent part? 

      b. What stop or stops are used in the less prominent part?

a. an 8’ Trumpet

b. flutes, in a gap registration (8’ 2 2/3’ 2’)

 

42. Helmut Walcha, “Gottes Sohn ist kommen”

      a. What stop is used for the most prominent part (which enters after several measures)? 

      b. What stop or stops are used in the less prominent part? 

flutes 8’ 4’ 2 2/3’ 1 3/5’ (nearly a full cornet, lacking only the 2’ stop).  The LH has flutes 8’ and 4’.

 

43. Jean-François Dandrieu, “Duo”

      What stops are used in the most prominent part?

8’ and 4’ (flutes).  Compare to the 8’ flutes in example 11.

 

44. Flor Peeters, “Prelude on ‘St. Thomas’”

      What pitch levels are sounding?

chorus (flutes 8’ 4’, and principal 2’).  Although rather thin textured, there are two parts or more and NO part is prominent—they are played on a single manual with echoes.

 

45. Johann Gottfried Walther, “Herr Jesu Christ, dich zu uns wend”

      What registrational type is used? 

chorus (flutes 8’ and 4’).  There are two parts or more and NO part is prominent—they are played on a single manual.

 

46. Friedrich Wilhelm Zachau, “Allein Gott in der Höh sei ehr”

      What registrational type is used? 

a. chorus.  There are two parts or more and NO part is prominent—they are played on a single manual.

b. 8’ and 4’ (flutes).  Note that the pitches are identical with those of example 46, but they are different ranks of flutes (this example is on the Great flutes, and example 46 on the Positiv).

 

47. Friedrich Wilhelm Zachau, “Vom Himmel hoch, da komm’ ich her”

      a. What registrational type is used? 

      b. What pitch levels are sounding?

a. chorus

b. 8’ 4’ 2’

 

48. Domenico Zipoli, “Verso in E Minor”

      a. What registrational type is used? 

      b. What pitch levels are sounding?

a. chorus (Even though very light-textured, there are two parts and NO part is prominent—they are played on a single manual.)

b. 8’ and 2’ (a gap regis.—the 4’ pitch is missing)

c. flutes

 

49. Domenico Zipoli, “Verso IV”

      a. What registrational type is used? 

      b. What pitch levels are sounding? 

      c. What family is being used?

a. chorus

b. 8’ 4’ 2’.  Althouth the 2’ pitch is stronger here, compare with the more hollow gap registration (8’ and 2’ only) in example 49.

 

50. Domenico Zipoli, “Verso in G Minor”

      a. What registrational type is used? 

      b. What pitch levels are sounding?

a. chorus

b. 8’ (flutes)

 

51. Hugo Distler, “Opus 18/I, no. 8”

      a. What registrational type is used? 

      b. What pitch levels are sounding?

a. solo and accompaniment

b. RH 8’ 4’ 1 1/3’, LH 8’ 4’

 

52. Hugo Distler, “Opus 18/I, no. 10”

      a. What registrational type is used? 

      b. What pitch levels are sounding?

8’ and 4’.  (Note the increase in color when the 1 1/3’ stop is added, as in example 52.)

 

53. Hugo Distler, “Opus 18/I, no. 11”

      When the solo comes in, what pitch levels are heard?

chorus (begins with 8’ 4’ 2’)

 

54. William Selby, “A Fuge or Voluntary”

      What registrational type is used?

a. chorus

b. after the introduction (begins with flutes 8’ 4’ 1 1/3’, then moves to principals 8’ 4’ 2’ Mixture V)

 

56. Georg Friedrich Kauffmann, “Nun danket alle Gott”

      a. What registrational type is used? 

      b. Does a mixture ever sound in this example?