A Practice Schedule

No time! I have no time!

Time is in increasingly short supply, so I've made for myself a practice bag full of practice materials and instructions on how to use them, so that whenever I have some free time, I can quickly and efficiently practice the different subjects that will eventually be assessed on the AGO exams.

Contents include:

Sight Reading:
Bach - Riemenschneider  371 Harmonized Chorales and 69 Chorale Melodies with Figured Bass
Start every practice with careful sight-reading of two pages of chorales with the Bass in the pedals and the other voices in the manuals. The process is to read through each chorale carefully before playing and endeavor to mentally 'hear' and 'feel' the music before a note is played. The goal is to anticipate both the sound and the physical act of playing the chorale, and then perform it as perfectly with regard to sound and technique as is possible. Change registrations between chorales to give a little variety to the exercise.

Clef studies/Transposition:
R.O. Morris and Howard Ferguson - Preparatory Exercises in Score Reading
An extremely helpful book, it's goal is to prepare one for the task of rapidly reading open scores using transposing instruments by the substitution of certain clefs. The book consists of brief pieces (composed or from the repertoire) written using a combination of F, G, and C clefs. It begins with the Alto clef, then the Tenor, then Alto and Tenor together, and finally includes the Soprano clef. The organist's job, however, is not over since he must also become acquainted with the Mezzo-Soprano and Baritone clefs if he would become adept at transposition into any key at first sight. However, the majority of the job will be finished. The procedure is to take one brief piece every new day and practice it so that it is thoroughly learned, so that reading from the unfamiliar clef becomes a 'thoughtless' process. One's intuition and creativity is lent to deciding what tempos and registrations are appropriate for each piece since none are given.

Thoroughbass/Continuo/Figured Bass/Harmonization:
Hermann Keller - Thoroughbass Method
I have several texts on thoroughbass, and my opinions on which are the best will probably evolve over time, but for now, I am using this volume. Keller supplies, in the beginning, a number of short cadences that are to be reproduced in every key. Then the same is required of given basses with figures; reproduce your solution in every major and minor key. This fosters a familiarity of the relative function of chords in all keys. The exercises used in Figured Bass will be applied to attempts at Harmonization later on. Play through an example or two in all keys every day, proceeding into realizing more complex figures.

Improvisation

• Gerre Hancock - Improvising:  How to Master the Art
• Westminster Press - The Worshipbook  (a hymnal)
• Spiral bound manuscript Paper

I also have several texts on Improvisation. After a thorough study and synthesis of their respective ideas, I've decided that Hancock's opening exercises in scales are the best in fostering creativity, defining one's own unique musical language, and concise practice in many skills required of a skilled improviser. I will cite elsewhere why this practice is so comprehensive, specifically. I require manuscript paper to write examples of what is to be improvised before they are worked at the keyboard. A hymnal is required for a different approach to improvisation, that of the practical approach and starting with a complete composition and gradually departing from the printed page.
The Hancock exercise is on a weekly schedule, treating a different key every week for 48 weeks.
The process for working with a hymnal is simply to pick a hymn every day, and then practice a specific technique with it so that it can be done freely and without hesitation. The beginning techniques involve moving the melody to different registers, such as the feet, and an octave down in the left hand. Further techniques involve adding passing and neighbor tones, improvising descants, and reharmonization. I am following a set list of techniques which will be learned and practiced in order. An example or two will be written on staff paper before they are improvised at the keyboard.

Composition:
Arthur Hutchings - The Invention and Composition of Music
Composition is a staggering subject to try to learn without a teacher, but I've become enamored of this book and will use it for practice in the art. Hutchings advocates the making of a practical musician, a musician who actually writes music that is needed, not one who shies away from situations that he feels are beneath his Grand Art of Harmony. A somewhat difficult read, it has a great number of composition exercises that, if completed, will prepare a musician for most any situation. These exercises should be worked on every day, but that may not be possible. Therefore, this book is included in my lunch-bag for if I have time and a quiet place to work.

...and two pencils.

I've decided not to set a certain time on any of these subjects, but to be guided somewhat by feel, and to achieve a certain task each time. To summarize the schedule in order to be practiced:

Technique - Pedal scales (invigorating!)
Sight Reading - 2 pages of chorales
Clefs/Transposition - One piece of music (or two if particularly easy)
Thoroughbass - Between 1 and 4 fragments in all keys major and minor
Improvisation - One hymn with techniques applied, Hancock scale practice according to weekly schedule
Composition - One exercise if time permits. No hurrying allowed!
Repertoire - Whatever time permits.

Give it a try!