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
To
complete this exercise, you will need the following in addition to the exercise
below:
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. |
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PIECES FOR MANUAL |
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a.
reed (Krummhorn) b.
flute (8’ and 4’) |
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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 |
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What registrational type is used? |
trio
(note: there are only two manual parts, and BOTH parts are prominent or more
melodic) |
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3. David N.
Johnson, “It Came Upon the 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) |
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4. Johann Christian
Bach, “Aus meines Herzens Grunde” Which registrational type is used? |
flute
(8’ and 4’) |
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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) |
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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’) |
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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. |
|
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. |
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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. |
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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. |
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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. |
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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. |
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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’) |
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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) |
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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 |
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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. |
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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’) |
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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. |
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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]) |
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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) |
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21. Johann
Pachelbel, “Ein feste Burg ist unser Gott” a. What registrational type is
used? b. Is there a mixture? |
chorus
reed (Trumpet 8’) |
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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’) |
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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’) |
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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. |
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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 |
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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. |
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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). |
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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). |
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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! |
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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’) |
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31. David N.
Johnson, “ What family predominates in the LH part? |
a.
principal 8’ and 4’ b.
flutes 8’ 4’ and 2’ |
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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 |
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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). |
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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’) |
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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. |
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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). |
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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) |
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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’) |
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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) |
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40. Ernst Pepping,
“Jesus Christus, Unser Heiland” What stop is used for the solo part? |
PIECES FOR MANUAL ONLY
(EXAMPLES 41-56) |
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a. a
soft 8’ solo reed (Krummhorn 8’) b.
flutes 8’ and 4’ |
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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’) |
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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’. |
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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. |
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44. Flor Peeters,
“Prelude on ‘ 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. |
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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. |
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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). |
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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’ |
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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 |
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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. |
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50. Domenico
Zipoli, “Verso in G Minor” a. What registrational type is
used? b. What pitch levels are sounding? |
a.
chorus b. 8’
(flutes) |
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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’ |
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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.) |
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53. Hugo Distler,
“Opus 18/I, no. 11” When the solo comes in, what pitch
levels are heard? |
chorus
(begins with 8’ 4’ 2’) |
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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) |
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56. Georg Friedrich
Kauffmann, “Nun danket alle Gott” a. What registrational type is
used? b. Does a mixture ever sound in this
example? |