Take this test after you have internalized the entire lesson. Once you begin, do not refer to the workbook or other reference material. To grade this test, press the “Check Answers” button below. You may take this test as many times as you wish by pressing the “Reset Test” button. For each incorrect answer you will be given a reference to the OrganTutor lesson topic that you should review to gain a full understanding of the concept.

Choose the one best answer.

1. Which of the following would best serve as a philosophical basis for determining organ volume in congregational hymn accompaniment?
   1. The organ should serve as a light underpinning for the congregation--primarily as a pitch base.
   2. The organ should support the congregation confidently, but not overpower.
   3. The organ should assertively lead the congregation by playing just beyond their overall volume level.
2. Which of the following would be the most appropriate registrational BASIS for congregational hymn accompaniment?
   1. principal stops
   2. flute and principal stops
   3. flute stops
   4. string and flute stops
   5. string stops
3. In one hymn the text of verse 2 is more meditative than verse 1. Verse 1 was registered with Principal 8', Octave 4', and Doublette 2'. Which of the following registration changes would best express the mood of verse 2?
   1. add flutes 8' and 4'
   2. add the tremulant
   3. add Oboe 8'
   4. replace Principal 8' with Bourdon 8'
   5. replace Doublette 2' with Waldflote 2'
4. With regards to pitches only, which of the following stop combinations would be insufficient for congregational hymn accompaniment?
   1. Great: Principal 8', Octave 4'
   2. Great: Principal 8', Bourdon 8', Octave 4'
   3. Great: Principal 8', Bourdon 8'
   4. Great: Principal 8', Octave 4', Waldflote 2'
   5. Great: Principal 8', Rohrflote 4'
5. For congregational hymn accompaniment, the Great to Pedal and Swell to Pedal couplers
   1. are not effective.
   2. can provide independence in the pedal line.
   3. may be used primarily in softer hymns.
   4. provide homogeneity between all voices.
   5. should be fully open
6. You are most interested in rendering the beautiful lines of a hymn as clearly as possible. Which of the following manual stop combinations best meets this objective?
   1. Principal 8', Bourdon 8', Octave 4', Rohrflote 4', Super Octave 2'
   2. Principal 8', Octave 4', Super Octave 2'
   3. Principal 8', Bourdon 8', Octave 4'
   4. Principal 8', Bourdon 8', Gemshorn 8'
   5. Principal 8', Bourdon 8', Gemshorn 8', Octave 4', Spitzflote 4', Super Octave 2'
7. You are most interested in a warm, full rendition of a meditative hymn (not bright). Which of the following manual stop combinations best meets this objective?
   1. Principal 8', Octave 4'
   2. Principal 8', Octave 4', Super Octave 2'
   3. Principal 8', Bourdon 8', Octave 4'
   4. Principal 8', Bourdon 8', Gemshorn 8', Octave 4', Spitzflote 4'
   5. Principal 8', Bourdon 8', Gemshorn 8', Octave 4', Spitzflote 4', Super Octave 2'
8. Which of the following would be LEAST effective as part of a registration combination for congregational hymn accompaniment?
   1. Trompette 8'
   2. Gedackt 8'
   3. Gemshorn 8'
   4. Diapason 16'
   5. Voix celeste 8'
9. Which stops might be added to a bright principal chorus for a fiery effect?
   1. Lieblich Gedackt 16' and Bourdon 8'
   2. Octave 4' and Super Octave 2'
   3. Trompette 8' and Clairon 4'
   4. Fourniture IV and Scharf III
   5. Gedackt 8' and Gemshorn 8
10. Just before beginning a congregational hymn accompaniment, the expression pedal(s) and the crescendo pedal should normally be
    1. fully open.
    2. fully closed.
    3. one open, one closed.
11. All of the following should generally be avoided in congregational hymn accompaniment EXCEPT
    1. changes of registration.
    2. the tremulant.
    3. celestes.
    4. 16' manual stops.
    5. frequent use of full organ.
12. Which of the following statements is or are true relative to changes of registration during a congregational hymn?
    1. They should be directed by the hymn text.
    2. They should occur following each verse of every hymn.
    3. They can occur before a chorus.
    4. a. and b.
    5. a. and c.
13. The spirit of a particular hymn text seems very similar from verse to verse. Any contrast is very subtle. In this case, which of the following options is appropriate?
    1. Changes of registration should not be made if the text has no contrast from verse to verse.
    2. Build gradually louder from verse to verse.
    3. Diminish the organ at some point, and then build again.
    4. Any of the above options could be appropriate.
    5. b. and c.
14. In a certain congregational hymn accompaniment (a rather long one), you used a solo line for verse 3. You noticed a sudden reduction in the congregational singing volume. What factor(s) may have caused this?
    1. Reduced singing volume is normal in long hymns.
    2. Your solo line was not loud enough.
    3. The accompaniment (non-solo) part was not supportive enough.
    4. a. and c.
    5. b. and c.
15. Manual-only playing in congregational hymn accompaniment
    1. is a beginning organ technique.
    2. provides contrast.
    3. is most effective on the last verse.

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