New Oxford Organ Method

Chapter 7
79
RH
& c
2
# œ œ œ œ œ œ œ
(Adagio, b. 1)
Call your chosen manual Manual I. You could add a Tremulant to your right-hand solo registration. A
Tremulant varies the wind supply to create the effect of a vibrato.
Now choose the sound for your accompaniment. Use a different manual and choose an 8ʹ stop, probably
also a Flute. Call that Manual II. Play the following to assess the balance between the hands. Some of the
left hand’s upper notes either sound above, or duplicate, the right-hand melody, so make sure that you have
clarity on both manuals, but that the right hand dominates:
& c # œ œ œ œ œ œ œ œ œ œ œ œ œ
{
II
I mp 2 3
& c
p
œ
1
4
Œ
œ
1
4
Œ
œ
2
4
(Adagio, bb. 1–2)
for online perusal only
The pedal is part of the accompaniment, so it must balance with the left hand. The usual convention is to
choose stops from the same tonal family as the manual, but an octave down: Flute 16ʹ. Try any low pedal
note with this stop and listen. If its pitch is indistinct, add a Flute 8ʹ, too.
Play the left hand and pedals together, and check that they are the same volume:
LH
Ped.
II
& c
p
œ
1
4
Œ
? c
m œ Œ œ Œ œ
m m
œ
1
4
Œ
œ
2
4
(Adagio, bb. 1–2)
Independent pedal activity
When your hands and feet have independent activity, your feet need a high level of confidence, so learn their
part thoroughly before starting the manuals.
Warm up your feet with a pedal scale of C major, the relative major of the key of the Adagio and the key of
the second movement, Allegro. Remember to:
• Place your hands on the key cheeks.
• Prepare both feet on their starting notes.
• Keep your knees together throughout.
• Pivot your lower body from left to right as the notes ascend, and from right to left as they descend.