doncook@byu.

edu; 801-422-3260 C-550 HFAC, BYU, Provo, Utah 84602

The New LDS Organist

A Guide through the First Months v.1205

This course of twelve lessons is designed to help pianists adapt their skills to the organ as soon as
possible. Lessons 1-5 and 10-12 are for everyone—those who must begin very soon to play for church
meetings might consider themselves in “shortcut mode” and skip lessons 6-9. These four lessons are for
those who can spend the time required to refine their playing “in polish mode” before beginning to serve
as an organist.
All twelve lessons are available free over the Internet as audio podcasts. There is a total of just over
four hours of instruction, with each lesson lasting between five and thirty-five minutes plus pause time.
The lessons involve listening to instruction, trying out new skills at the organ, and playing simplified
hymns. Organists with MP3 players can download the podcasts from iTunes and take the lessons at the
organ console. Those without MP3 players can hear the lessons through their computer. Those without
computers can print the lessons and study them in written form.
A packet of supporting written materials can also be downloaded free over the Internet (in Adobe pdf
format). In addition to the many useful handouts, the packet contains over twenty-five simplified hymns
that can be used in those first weeks of service.
Instructions on how to access the course can be found online at <www.organ.byu.edu>. Those who are
all ready familiar with iTunes can simply search for “new lds organist” and download it as usual.
The lesson titles are listed below. For a more detailed list of subtopics, visit <www.organ.byu.edu>.

Lesson Titles
1. Welcome to Organ Playing! (35 minutes)
2. First Steps in Pedal Playing (13 min.)
3. Playing Prelude Music that Invites the Spirit (13 min.)
4. Effective Hymn Playing—An Overview (11 min.)
5. Hymn Playing in Shortcut Mode—Playing Hymns Right Now (5 min.)
(lessons 6-9 are for those who can dedicate the time to learning to play in “polish mode”):
6. Hymn Playing in Polish Mode—Playing Single Lines in Legato Style (21 min.)
7. Hymn Playing in Polish Mode—Playing Two Independent Legato Lines (28 min.)
8. Hymn Playing in Polish Mode—Playing Three Independent Legato Lines (31 min.)
9. Hymn Playing in Polish Mode—Playing Four Independent Legato Lines (38 min.)
10. Hymn Playing—Deciding When to Tie Repeated Notes (25 min.)
11. Playing Postlude Music Appropriately (17 min.)
12. Continuing Your Organ Training (15 min.)

The New LDS Organist was produced by Dr. Don Cook of the Brigham Young University School of
Music, assisted by graduate students Jane Dye, Ruth Eldredge, and Shinji Inagi.
Copyright © 2007 by Brigham Young University. All Rights Reserved.
These materials may be freely reproduced for incidental, noncommercial church or home purposes.
For complete Copyright and Use Information, visit http://www.organ.byu.edu/copyright.html
This is not an official publication of The Church of Jesus Christ of Latter-day Saints
  The New LDS Organist  3   

Table of Contents─Packet
Supporting Materials for the Lessons
The supporting materials appear in the order of their first use in the lessons. For a list of all materials
that should be at your fingertips for each lesson, see the next page, “Materials Needed for Each Lesson.”
4 Materials Needed for Each Lesson
5 About Your Calling
6 The Organ Console
7 Internet Resources for Organists
8 Pedal Orientation
9 Resources: Easy Prelude and Postlude
11 Common Stop Names Listed by Family and Pipe Categories
12 Registration Suggestions for Prelude/Postlude Music
14 Hymn Registration Shortcuts
15 The Six Legato Organ Fingering Techniques
16 How to Learn Three-Part Hymns and Pieces
18 Three-Stage Plan for Learning Hymns or Other Four-Part Pieces
19 Sample from Hymns from the L.D.S. Hymnal Marked for the Organ by Carol Dean
20 Sample from Three-Stave Hymn Accompaniments by Robert Cundick and Don Cook
21 Organ Training Resources Available through Brigham Young University
22 Redeemer of Israel: Example of Fully-Prepared Score
23 Sample of a Hymn Marked in Shortcut Mode

Simplified Hymn Arrangements

These 25 simplified hymn arrangements appear in the packet in their normal hymnbook order.
Hymn No. of Hymn No. of
Title Title
no. parts no. parts
3 Now Let Us Rejoice 4 143 Let the Holy Spirit Guide 4
5 High on the Mountain Top 3 163 Lord, Dismiss Us with Thy Blessing 4
19 We Thank Thee, O God, for a Prophet 4 174 While of These Emblems We Partake 3
29 A Poor Wayfaring Man of Grief 3 177 ‘Tis Sweet to Sing the Matchless Love 4
30 Come, Come, Ye Saints 3-4 181 Jesus of Nazareth 3
58 Come, Ye Children of the Lord 4 193 I Stand All Amazed 3
67 Glory to God on High 3 200 Christ the Lord Is Risen Today 4
96 Dearest Children, God is Near You 3 201 Joy to the World 3
98 I Need Thee Every Hour 3 247 We Love Thy House, O God 4
100 Nearer, My God, to Thee 3 274 The Iron Rod 3
103 Precious Savior, Dear Redeemer 3 292 O My Father 4
140 Did You Think to Pray? 3 294 Love at Home 3
142 Sweet Hour of Prayer 3

The Easier Hymns

Following is a list of some of the easier hymns to play directly from the hymnbook, as given in the
official LDS Church Music website and in the BYU Independent Study organ courses, Levels 1 and 2.
It may be useful for music chairmen and priesthood leaders as organists develop their skills.
Come, Follow Me (116); Come Unto Jesus (117), Do What Is Right (237); Glory to God on High (67); God Be with
You Till We Meet Again (152); I Know My Father Lives (302); How Gentle God's Commands (125); How Great the
Wisdom and the Love (195); I Stand All Amazed (193); Keep the Commandments (303); Let the Holy Spirit Guide
(143); Love at Home (294); Now Let Us Rejoice (3); Redeemer of Israel (6); Sweet Is the Work (147); Sweet Hour of
Prayer (142); Teach Me to Walk in the Light (304); We Thank Thee, O God, for a Prophet (19).

Copyright © 2007 by Brigham Young University. All rights reserved.

 The New LDS Organist 4

Materials Needed for Each Lesson

The materials that should be at your fingertips for each lesson are listed below. For a complete table of
contents for this packet, see the previous page, “Table of Contents—Packet.”

Lesson 1. Welcome to Organ Playing! Lesson 8. Hymn Playing in Polish Mode—

About Your Calling Playing Three Independent Legato Lines
The Organ Console How to Learn Three-Part Hymns and Pieces
Internet Resources for Organists Common Stop Names Listed by Family
Hymn 5 (simplified and Hymnbook) Hymn 98 (simplified)
Hymn 100 (simplified) Hymns 108 and 226 (Hymnbook)

Lesson 2. First Steps in Pedal Playing Lesson 9. Hymn Playing in Polish Mode—
Pedal Orientation Playing Four Independent Legato Lines
Hymn 142 (simplified) Three-Stage Plan for Learning Hymns or . . .
Hymn Registration Shortcuts
Lesson 3. Playing Prelude Music that Sample from Hymns from the L.D.S. Hymnal . . .
Invites the Spirit Sample from Three-Stave Hymn Accompaniments
Resources: Easy Prelude and Postlude Organ Training Resources Available through BYU
Common Stop Names Listed by Family Redeemer of Israel: Example of Fully-Prepared Score
Regis. Suggestions for Prelude/Postlude Hymns 3, 5, and 174 (simplified)
Hymnbook
Lesson 4. Effective Hymn Playing—
An Overview Lesson 10. Hymn Playing—
Hymn Registration Shortcuts Deciding When to Tie Repeated Notes
Hymns 6 and 166 (Hymnbook) Sample of a Hymn Marked in Shortcut Mode
Sample from Hymns from the L.D.S. Hymnal . . .
Lesson 5. Hymn Playing in Shortcut Sample from Three-Stave Hymn Accomp. . . .
Mode—Playing Hymns Right Now Redeemer of Israel: Example of Fully-Prepared Score
Hymn Registration Shortcuts Hymn 19 (Hymnbook)
Hymn 3 (Hymnbook)
Lesson 11. Playing Postlude Music Appropriately
Lesson 6. Hymn Playing in Polish Mode— Resources: Easy Prelude and Postlude
Playing Single Lines in Legato Style Common Stop Names Listed by Family
The Six Organ Fingering Techniques Hymn 140 (simplified)
Common Stop Names Listed by Family Registration Suggestions for Prelude/Postlude Music
Hymns 174 and 5 (simplified)
Hymn 259 (Hymnbook) Lesson 12. Continuing Your Organ Training
About Your Calling
Lesson 7. Hymn Playing in Polish Mode— Organ Training Resources
Playing Two Independent Lines Internet Resources for Organists
Common Stop Names Listed by Family
Hymns 58 and 98 (simplified)
Hymns 254, 31, 205, and 6 (Hymnbook)
  The New LDS Organist  5   

About Your Calling

A list of suggested readings and resources for the LDS organist

Addresses by General Authorities

Eyring, Henry B. “Rise to Your Call.” Ensign, November 2002.

Hinckley, Gordon B. “The Quest for Excellence.” Ensign, September 1999.

Jensen, Jay E. “The Nourishing Power of Hymns.” Ensign, May 2007.

Kimball, Spencer W. The Gospel Vision of the Arts.” Ensign, July 1977.

Oaks, Dallin H. “Worship through Music.” Ensign, November 1994.

Packer, Boyd K. “The Arts and the Spirit of the Lord.” Ensign, August 1976.

Packer, Boyd K. “Reverence Invites Revelation.” Ensign, November 1991.

Official Church Communication

LDS Church Music website <www.lds.org/churchmusic>

Frequently Asked Questions <http://www.lds.org/pa/display/0,17884,6755-1,00.html>

Guidelines from the Church Handbook of Instructions

< http://www.lds.org/cm/display/0,17631,4987-1,00.html>

Quotes from Church Leaders and the scriptures about music

<http://www.lds.org/cm/quotes/0,18328,5084-1,00.html>

Other Resources

Organ Study at BYU website <www.organ.byu.edu>

Resources for LDS organists < http://www.geocities.com/ddstone48/>

LearningOrgan (Internet discussion group) < http://groups.google.com/group/LearningOrgan>

Howarth, Paul R. “Tips for Beginning Organists.” Ensign, September 2002.

  The New LDS Organist  6   

The Organ Console

The diagram below indicates standard positions for the various items. However, organ consoles vary
widely in their design. Some of the most common variations are as follows:
• Expression and crescendo pedals. If only one is present, it is usually an expression pedal that
affects the volume of the entire organ. Crescendo pedals are absent on many consoles.
• Great to Pedal reversible. If present, this is usually located directly to the right of the right-most
expression (or crescendo) pedal. It may also be present as a thumb piston.
• General and divisional combination pistons. Many organs have only one set of combination
pistons. If so, they will be generals, centered underneath one or both manuals. If both generals
and divisionals are present, the generals are usually located to the left underneath the manual(s).
• Stops. These may be present as drawknobs, located in stop jambs on both sides of the manuals.
• Tutti/sforzando reversible. If present, this is usually the right-most and highest thumb piston
and/or toe stud.

Stops (rocker tabs) Swell

Power Tutti reversible

Setter Great
General combination pistons
Cancel
Division (local) combination
pistons Crescendo pedal

Expression pedals Great to pedal

reversible

Toe studs

Pedals
 The New LDS Organist 7

Internet Resources for Organists

General “Hot Spots” of Organ-Related Web Resources
 Pipe Organs and Related Topics www.albany.edu/piporg-l
Links of topical interest www.albany.edu/piporg-l/piplinks.html
Individual Organs and Organ Tours www.albany.edu/piporg-l/organs.html
 American Guild of Organists www.agohq.org
Educational Resources https://agohq.org/store/index1.html
 Organ Study at BYU www.organ.byu.edu

Specific Areas of Interest to Organists

 BYU
Organ Study at BYU organ.byu.edu
BYU Organ Workshop http://organworkshop.byu.edu
BYU Young Musicians Summerfestival http://summerfestival.byu.edu
The New LDS Organist http://organ.byu.edu/newldsorganist
OrganTutor www.organtutor.byu.edu
Independent Study Organ Courses, Levels 1-6
College-credit courses: http://ce.byu.edu/is/site/courses/university.cfm?subject=10000066
Non-credit courses (levels 1-2 only): http://ce.byu.edu/is/site/courses/free.cfm
Belnap Hymn Studies for Organists http://creativeworks.byu.edu/Catalog/ViewItem.aspx?item=SM004
 LDS organist
Organ Training Resources http://www.organ.byu.edu/trainingresources.pdf
Discussion group for organ students and teachers http://groups.google.com/group/LearningOrgan
Resources for LDS Organists (DeeAnn Stone) www.LDSOrganists.info
Early LDS Hymns http://www.earlyldshymns.com/
1835 hymnbook online http://www.earlyldshymns.com/A_COLLECTION_OF_HYMNS.pdf
Temple Square Organs http://www.mormontabernacleorgan.webs.com/
Jackman Music www.jackmanmusic.com
Online Music for the LDS Organist www.wardorganist.com
A Blog for LDS Organists http://organlessons.blogspot.com/
 Organ Music
Organ Historical Society www.ohscatalog.com
Jackman Music www.jackmanmusic.com
Kelvin Smith online music library www.untraveledroad.com/music/music.htm
Where to Buy Organ Music www.organ.byu.edu/wheretobuy.htm
 Recordings and broadcasts
Organ Historical Society www.ohscatalog.com/recordings.html
Pipedreams Program Archives http://pipedreams.publicradio.org/listings/
JAV Recordings www.greatorgancds.com
Pro Organo www.proorgano.com
Bach Organ Works (free online recordings--Kibbie) http://www.blockmrecords.org/bach/
 The organ itself
Encyclopedia of Pipe Organ Stops www.organstops.org
Organ History http://www.concertartist.info/organhistory/
A Young Person’s Guide to the Pipe Organ (The Pipe Organ Guide) www.agohq.org/guide/index.html
 Miscellaneous
PIPORG-L (to join the group) https://list.uiowa.edu/scripts/wa.exe?SUBED1=piporg-L&A=1
A Wiki resource on organ playing http://organplayingwiki.byu.edu
BACHorgan.com www.bachorgan.com
MIDI primer http://arts.ucsc.edu/EMS/Music/tech_background/MIDI/MIDI.html
 The New LDS Organist 8

Pedal Orientation

Organ Shoes
see <www.organ.byu.edu/ORSHOE.html>

Upper
(snug fit, flexible)
Heel
(wide, about 1 inch high)

Sole
(thin, slide easily, not wider than shoe)

Arch
(no bridge between heel and sole)

Pedal Exercises for Lesson 2

Continue by learning the pedal line of Hymn 142, “Sweet Hour of Prayer” (simplified for organ in three
parts) as described near the end of Lesson 2.
  The New LDS Organist  9   

Resources: Easy Prelude and Postlude

Listed in approximate order from easier to more challenging

Stone, DeeAnn. Resources for LDS Organists. Visit http://www.ldsorganists.info/.

This is an exhaustive listing of hymn preludes and free accompaniments on hymns found in the LDS hymnbook—a most
useful resource for any LDS organist. There is no indication, however, as to the level of difficulty.

Manual-Only Hymns for Organ and Transformations. Provo, UT: Brigham Young University, 2010.
Visit http://lds.org/cm/display/0,17631,4774-1,00.html (free download).
Manual-Only Hymns is designed to assist the LDS pianist in making the transition to the organ. With practice, the voice
parts of these 38 hymns can be played smoothly and with independence of line. This is enabled by eliminating the pedal
parts, by reducing the voice parts from four to three, by arranging the hymns for ease of execution, and by providing organ
fingering. Transformations is a companion volume to Manual-Only Hymns that provides easy supplemental material to
“transform” the hymns into simple preludes or postludes.

Croft, D. Kim. Nine Hymn Studies. Orem, UT: Pioneer Music Press, 1986.
Visit www.jackmanmusic.com
These simple three-part hymn settings are fingered and pedaled in legato style, and include a very easy pedal part. They
are some of the easiest available pieces to play for prelude or postlude, but not for congregational accompaniment.

Cook, Don. Easy Organ Hymn Settings. Orem, UT: Jackman Music, 1992.
Visit www.jackmanmusic.com
This collection contains 28 three-part transcriptions of LDS hymns. The original soprano part is played by the right
hand. The left hand plays a new middle part that leaves the harmony unchanged from the original. The bass part, also not
deviating from the original notes, appears on its own pedal staff. Repeated notes are sometimes tied in the bass and middle
parts. Fingering and pedaling are provided. These transcriptions can be used for congregational hymn accompaniment, or
for prelude or postlude. They were designed to provide a bridge between the very easy Nine Hymn Studies by Kim Croft and
the four-part hymns in the Hymnbook.

Cook, Don. OrganTutor Organ 101 Workbook. Provo, UT: Brigham Young University, 1998/2007.
Visit www.organtutor.byu.edu
This organ method contains a few hymn settings and pieces that were hand-picked for the early-level LDS organist, such
as “Prelude on Deliverance” by Richard Elliott. The method, along with the computer tutorial, also serves as the basic text
for the Level 1 and 2 BYU Independent Study organ courses.

Dupré, Marcel. Seventy-Nine Chorales for the Organ, Opus 28. New York: H. W. Gray, 1932.
These one- or two-page pieces are provided with fingering and pedaling in legato style. A few are based on hymns in
the LDS hymnbook. This book is required in the Level 1 and 2 BYU Independent Study organ courses.

Manookin, Robert P. Hymn Preludes for Organ, Book One. Orem, UT: Sonos (Jackman Music), 1976.
Visit www.jackmanmusic.com
This is the first of many volumes of LDS hymn preludes by Robert Manookin. This first volume contains two or three
pieces that are particularly useful for the early-level organist. These pieces are on the repertoire list for the BYU Independent
Study Level 1 and 2 organ courses.

(continued)
  The New LDS Organist  10   

Cundick, Robert and Don Cook. Three-Stave Hymn Accompaniments. Provo, UT: BYU Creative
Works Office, 2003. Search <three stave hymn> to order bound volume or for free download.
This is a collection of 62 hymns transcribed for organ on three staves. The goal: make it easier for an organist to play the
hymns well by writing the bass part on its own pedal staff and adding ties generously between repeated notes. Fingering and
pedaling must be added, and the text is not present in the score.

Belnap, Parley L. Hymn Studies for Organists. Rev. ed. Provo, UT: BYU Creative Works, 1992/2003.
Search <hymn studies for organists>.
This method book on hymn playing provides fingering and pedaling for many hymns, as well as generous instruction on
all aspects of hymn playing. The hymn text is not present in the scores.

Hymns of the Church of Jesus Christ of Latter-day Saints. Salt Lake City, UT: Church of Jesus Christ
of Latter-day Saints, 1985.
Prelude and postlude music can be played directly from the hymnbook. Variety can be introduced by applying the
registration suggestions and rearrangement of parts as suggested in Lessons 3 and 11. Later, you can learn more details on
rearranging parts through the “Music 116—Organ Techniques and Literature” podcasts. Go to iTunes and search “organ
techniques.”

Chamberlin, David. LDS Hymn Voluntaries. Visit www.chamberlinmusic.com/oom.php.

This composer is developing a massive collection of hymn preludes—one for each hymn in the hymnbook. Each
volume contains preludes of varying difficulty levels and that range in style from traditional to contemporary. New volumes
are produced periodically.

In addition to the websites given above after some listings, most of these items are also available
through the BYU Bookstore. Visit www.byubookstore.com or call 1-800-253-2578.
  The New LDS Organist  11   

Common Stop Names Listed by Pipe

Category and Family of Organ Tone
Most every speaking stop found on organs in LDS meetinghouses is listed under its pipe category (flue
or reed) and family of organ tone.
  The New LDS Organist  12   

Registration Suggestions for Prelude/Postlude Music

by Don Cook

Careful selection and proper performance of music can greatly enhance the spirit of worship. . . .
Quiet prelude and postlude music creates an atmosphere of worship that invites the Spirit into Church
meetings. The organist or pianist usually plays hymns or other appropriate music for five to ten
minutes before and after a meeting.
--Music section of the Church Handbook of Instructions, p. 289

To build a stop combination for a prelude or postlude that accomplishes the purposes described above,
first identify these important characteristics in the music. If these are not indicated in the score,
make the decision yourself:
1. MOOD: Meditative or jubilant? Use more words that describe the mood or sound more precisely
(light or heavy, clear or rich, sparkling or foundational, simple, calm, reverent, ethereal, solid,
majestic, quietly jubilant, etc.)
2. VOLUME: Overall volume level (very soft, soft, medium, etc.)
3. SOLO: Will a solo and an accompaniment be played on two separate manuals (solo and
accompaniment registration), or will both hands play on the same manual (chorus registration)?

Next, decide on the sound that you want and find it on the organ.

CHORUS REGISTRATION

For “chorus-type” registration, in which both hands play on the same manual, try the combinations
given below. Use the handout “Common Stop Names Listed by Pipe Category and Family of Organ
Tone” to find particular flutes, principals, strings, reeds, or hybrids (as indicated below) on your organ.
The following list begins with the softer stops or combinations, which are usually most effective in
enhancing the spirit of worship:
1. a soft 8’ stop alone (flute, hybrid, or string)
2. the celeste effect (use two 8’ stops [hybrid, flute, or string, with celeste], or a single celeste stop
marked “II” [like Gemshorn Celeste II 8’])
3. two soft 8’ stops (flute and hybrid, flute and string)
4. flutes 8’ and 4’
5. two soft 8’ stops and flute 4’
6. flutes 8’, 4’, and 2’ (or flute 8’, principal 4’, and flute 2’)
7. principal 8’ alone
8. principal 8’ and flute 4’, or flute 8’ and principal 4’
9. principals 8’ and 4’
10. principal 8’ plus no. 1, 3, 4, 5, or 6 above
11. principals 8’ and 4’ plus no. 1, 3, 4, 5, or 6 above
12. principals 8’, 4’, and 2’ (note the brightness of the 2’ principal)
13. Adding the chorus mixtures and/or chorus reeds probably reach beyond an appropriate volume
level for preludes and most postludes in Sacrament meeting.
  The New LDS Organist  13   

SOLO AND ACCOMPANIMENT REGISTRATION

For “solo and accompaniment” registration, one hand (usually the right) plays the solo part on either the
Swell or the Great, and the other hand (usually the left) plays the accompaniment on the remaining
manual. First, decide whether the sound of the solo or the accompaniment is most important to you, and
begin building that combination. Next, build the other combination, balancing it with the first. For the
accompaniment (usually played by the left hand), use one of the chorus-type registrations given above.

For the solo part (usually played by the right hand), you need only find a more prominent (louder) stop
or combination. The solo may be registered with any chorus-type registration (see above), as long as
the accompaniment is softer. Celeste effects, however, are usually most effective in the accompaniment
part. The following is a list of solo stops or combinations that are not included in the chorus
registrations given above. These usually result in a more colorful solo:
1. a single harmonic flute 8’
2. flutes 8’ and 2’ (a “gap” combination)
3. combinations of the 8’ flute and other stops from the Cornet (pronounced “cor-NAY”):
a. flutes 8’ and 2 2/3’ (an especially effective soft solo combination)
b. flutes 8’, 4’, and 2 2/3’
c. flutes 8’, 2 2/3’, and 1 3/5’ (“Sesquialtera”)
d. flutes 8’, 4’, 2 2/3’, and 1 3/5’
e. flutes 8’, 4’, 2 2/3’, 2’, and 1 3/5’ (the full Cornet)
4. string 8’ (may sound like a soft reed)
5. flute 4’
6. soft reed 8’ (Oboe, Cromorne, Clarinet, French horn, English horn, Schalmei)
7. soft reed 8’ “rounded out” with other mild 8’ and 4’ stops (flutes, hybrids, strings)
8. all the 8’ stops on the Great that blend, possibly including the Swell to Great coupler (a very
warm, “singing” solo combination)
9. a larger chorus reed 8’ (Trompette, Fagott) (more effective as a meditative solo stop when
played in the tenor range)
10. a larger chorus reed 8’ “rounded out” with other 8’ and 4’ stops

PEDAL BALANCE

Build the bass part to balance with the chorus-type combination (not the solo). Choose a soft 16’ and 8’
stop from the Pedal division (Subbass, Bourdon, Gedackt, Lieblich Gedackt). As an alternative, select a
soft 16’ Pedal stop and Swell to Pedal or Great to Pedal (whichever does not have the solo). To balance
larger manual combinations, add larger 16’ stops followed by 8’ stops in the Pedal as needed. If
manual-to-pedal couplers are used, the 8’ balance will occur automatically as manual stops are added.

Write down the combination or save it to memory for later use.

Once you have selected the combination that you want, write down the stops in pencil on the music.
You can then draw this combination by hand whenever you play that piece on that organ—if you have
time. If you will not have time to draw the stops by hand, set the combination on a combination piston
(“preset”) as described in Lesson 1 under the combination action. Be sure to double-check your preset
just before the meeting!
   The New LDS Organist  14   

Hymn Registration Shortcuts

Following is an easy-to-use “shortcut” plan for selecting stops in either meditative or jubilant hymns for
congregational singing. It can be used with most pipe or electronic church organs.

A FEW OF THE MOST IMPORTANT GUIDELINES

1. Support the congregation with confidence, but do not overpower
2. Let the text guide the registrational plan for the hymn
3. Begin with stops from the principal chorus, especially at the 8’ level
4. 8’ and 4’ pitches are minimum for the manual; 16’ and 8’ are minimum for the pedal
5. In meditative hymns, substitute flutes for principals at 4’ and 2’ levels as needed to reduce sharpness
6. Use changes of registration between verses and/or between verse and chorus

BASIC HYMN REGISTRATION

MEDITATIVE HYMNS: Begin with this basic combination
Great: Principals 8’ and 4’ (the stops may be called Principal, Diapason, Octave, or Prestant)
Pedal: The main 16’ stop (may be called Principal, Subbass, Bourdon, or Gedackt), and Great to Pedal

JUBILANT HYMNS: Add the 2’ principal on the Great to the meditative hymn combination, resulting in─
Great: Principals 8’ 4’ and 2’ (the 2’ stop may be called Super Octave, Fifteenth, or Doublette)
Pedal: The main 16’ stop, and Great to Pedal

FOR A SINGLE CHANGE OF REGISTRATION BETWEEN VERSES

MEDITATIVE HYMNS: Couple the Swell chorus 8’ 4’ 2’ to the Great
Begin with the Basic Hymn Registration for Meditative Hymns (above). Also, prepare the following:
Swell: flutes or principals 8’ and 4’, and flute 2’, resulting in─
an 8’ stop (Bourdon, Gedackt, Geigen Prinzipal, or Diapason)
a 4’ stop (Flute, Nachthorn, Spitzprinzipal, Octave, Prestant, or Kloppelflőte)
the available 2’ stop (Piccolo, Blockflőte, Flute à bec)
Later, between verses or between a verse and the chorus, add the Swell to Great coupler

JUBILANT HYMNS: Add the Great chorus mixture

Begin with the Basic Hymn Registration for Jubilant Hymns (see above)
Later, between verses or between a verse and the chorus, add the Great chorus mixture
(usually called Mixtur[e], and always followed by a Roman numeral)
For yet another change, you might add a chorus reed 8’ on the Great or Swell (Trumpet, Trompette,
Tromba, or Fagott)
  The New LDS Organist  15   

The Six Legato Organ Fingering Techniques

Direct Fingering

Redistribution of the Inner Part

Finger Crossing (circles added for emphasis only)

Finger Glissando

Finger Substitution

Thumb Glissando
  The New LDS Organist  16   

How to Learn Three-Part Hymns and Pieces

Stage 1: PREPARE
Step 1. SIGHT-READ. Do your best to play through the piece. This will help you identify some of
the obstacles to overcome, such as notes, rhythm, fingering, legato, or independence.

Step 2. PREPARE THE SCORE

a. If you are dealing with a HYMN:
ƒ Mark PHRASING in the text. For each verse, mark a comma or vertical line in places
where a break would help to clarify the meaning of the words. Mark a slur between
words where playing without a break might help to clarify the meaning. Even thought
the congregation may breathe at such points, you can really draw attention to the
message of the hymn in this way.
ƒ ADD ANY TIES. If necessary, add ties as needed to improve the sustained character of
the hymn. This will only be necessary in four-part hymns played directly from the
hymnbook. In all of the arrangements that came with this course, these decisions have
all ready been made, and any adjustments have been written into the music.
b. Divide the piece into SECTIONS. If you did rather well at sight-reading, the sections can be
larger (four to eight measures). If your sight-reading was far from the mark, make the
sections smaller (one to two measures). Continue with the following steps for each section.
c. Add FINGERING AND PEDALING. This is a must unless you can sight-read it very well.
Planning and learning good fingering and pedaling helps in two very important ways. First,
security—you will be able to play more accurately and with greater confidence. Second,
retention—you will be able to bring it back with only minimal effort for the rest of your life.
You do not need to mark fingering or pedaling for every note; instead, mark key places—
where a new pattern begins, a skip occurs, a crossing, substitution, glissando, or any
unnatural action must occur. Make just enough marks to lead you to play the passage the
same way every time. Mark fingering and pedaling for the whole piece or just a few
sections at a time, as you prefer.

Stage 2: LEARN EACH SECTION

Step 1. Practice ONE LINE.
Step 1a. Begin by practicing one line SLOWLY AND PERFECTLY. How slowly? Slowly
enough to stay in control. Make sure the fingering or pedaling are exactly as planned, or
adjust them as needed. Check for accuracy of notes and rhythm, for perfect legato, and for
well-defined breaks between repeated notes and at phrase breaks. Practice at that tempo
until you can play it three to five times perfectly without much conscious effort.
Step 1b. SLIGHTLY INCREASE TEMPO. How slightly? It depends, but try 2-4 beats per
minute. Practice until you can play it three to five times perfectly without much effort.
Repeat this step until you arrive at a “goal” tempo for that step.

Step 2. Practice A SECOND LINE. Go through step 1 for a second line.

(continued)
  The New LDS Organist  17   

Step 3. Practice TWO LINES COMBINED.

Step 3a. Begin by practicing the first and second lines SLOWLY AND PERFECTLY.
Remember: slowly enough to stay in control. Thoroughly learn the fingering or pedaling
exactly as planned, or adjust them as needed. Check notes and rhythm as before, but now
shift your attention to the perfect legato and well-defined breaks in each line. Make sure
that when a break occurs in one line, it does not cause a break in another line where
sustained tone is needed. And make sure that the sustained tone in one line does not cause a
tie or “flinch” in another line where a well-defined break should occur. If such problems
occur, using the “freezing technique” as described in Lesson 7 will save a lot of time.
Practice at that slow tempo until you can play it three to five times perfectly without much
conscious effort.
Step 3b. SLIGHTLY INCREASE TEMPO, as explained in step 1b. Repeat this step until you
arrive at a “goal” tempo for that step.

Step 4. A THIRD LINE. Repeat step 1 for a third line.

Step 5. THREE LINES COMBINED IN PAIRS. Practice step 3 for the third and second lines.
When finished, practice step 3 for the third and first lines.

Step 6. ALL THREE LINES COMBINED.

Step 6a. Begin by practicing all three lines together SLOWLY AND PERFECTLY. Always
practice slowly enough to stay in control. Keep the fingering and pedaling as planned,
watch notes and rhythm, the legato, the well-defined breaks, and independence of line. Be
quick to use the “freezing technique” whenever independence problems occur. Practice at
that slow tempo until you can play three to five times perfectly without much conscious
effort.
Step 6b. SLIGHTLY INCREASE TEMPO, as explained in step 1b. Repeat this step until you
arrive at a “goal” tempo for that step.

Step 7. NEW SECTION. Repeat steps 1-6 for a new section.

Stage 3: REVIEW AND COMBINE THE SECTIONS

Continue practicing previously learned sections each day, always practicing slowly enough to stay in
control. Each time you learn one, leave it, and learn it again, as long as you are playing with great
control, you will be driving reflex-like habits deeper into your subconscious mind. It is the
subconscious recall of those many physical “reflexes” that you will rely on as you perform hymns
and pieces. Begin combining the sections into larger and larger sections as they become easier, until
you can play the entire hymn.

As you put the sections together, devise and begin practicing a REGISTRATIONAL PLAN that reflects
the meaning of the text and the spirit of the music, and that supports and encourages the congregation.
  The New LDS Organist 18   

Three-Stage Plan for Learning Hymns

or Other Four-Part Pieces
First, sight-read through the piece, identifying the main obstacles.
1. PREPARE THE SCORE
• Deal with the TEXT (if you are learning a hymn). Understand the meaning, and mark phrasing
• Deal with REPEATED NOTES if you are learning a hymn directly from the hymnbook
• Divide into SECTIONS
• Add FINGERING AND PEDALING
2. LEARN EACH SECTION. Go through the practice method you need to learn it to perfection:
• the 15-step method,
• the 7-step method, or
• a method that is customized to your abilities
• For each step, be sure to:
1. Practice SLOWLY AND PERFECTLY until you can play it three to five times perfectly without
much conscious effort
2. SLIGHTLY INCREASE TEMPO, practicing until you can play it three to five times perfectly
with little effort. Repeat this step until you arrive at a “goal” tempo for that step
3. REVIEW AND COMBINE THE SECTIONS
• Continue practicing previously learned sections each day
• Always practice slowly enough to stay in control
• Learn a section, leave it, and learn it again to drive reflex-like habits deep into your subconscious
• Combine sections into larger sections as they become easier until you can play the entire hymn

THE FIFTEEN-STEP METHOD (for the more challenging pieces). Each voice is treated as a unit:
• Single voices first: soprano, alto, tenor, bass
• All two-voice combinations next: bass/tenor, bass/alto, bass/soprano, tenor/soprano, alto/soprano,
alto/tenor
• All three-voice combinations next: soprano/alto/tenor, soprano/alto/bass, soprano/tenor/bass,
alto/tenor/bass
• Finally, all four voices together: soprano/alto/tenor/bass.

THE SEVEN-STEP METHOD (for less challenging pieces). Each hand or the feet are treated as a unit:
• Single units first
1. right hand (including soprano and most of the alto voice)
2. left hand (including tenor and occasional notes from the alto voice)
3. pedal
• Two-unit combinations
4. pedal and left hand
5. pedal and right hand
6. right hand and left hand
• All three units
7. right, left, and pedal
  The New LDS Organist  19   

Sample from Hymns from the L.D.S.

Hymnal Marked for the Organ
by Carol Dean

Most of the hymns in the LDS hymnbook are marked in this manner. Contact Carol Dean at
carolorg@msn.com
  The New LDS Organist  20   

Sample from Three-Stave Hymn

Accompaniments
by Robert Cundick and Don Cook
Louis M. Gottschalk hymn no. 170

Aimed at ease in performance, this four-part version offers a separate pedal staff and a good treatment
for the repeated notes. Fingering, pedaling, and phrasing must be added as has been done below.
 The New LDS Organist 21

Organ Training Resources Available

through Brigham Young University
MAIN WEBSITE
The Organ Study at BYU Website—Visit http://organ.byu.edu and then click LDS Organists and Teachers

BOOKS AND SOFTWARE

Hymn Studies for Organists (Belnap). http://creativeworks.byu.edu/catalog/ViewItem.aspx?item=SM004 ($15.95 + shipping)
Three-Stave Hymn Accompaniments (Cundick). http://creativeworks.byu.edu/Catalog/ViewItem.aspx?item=SM003 ($10 +
shipping; free downloads http://www.organ.byu.edu/3StaveHymns/index.htm)
Manual-Only Hymns for Organ, and Transformations. http://lds.org/cm/display/0,17631,4774-1,00.html (free downloads)

OrganTutor (Cook) (visit http://organtutor.byu.edu and then follow the specific links)
OrganTutor Organ 101 Complete
Computer tutorial on CD-ROM (for PC and Mac) and Workbook ($69.50 + shipping)
Computer tutorial and printable Workbook (pdf files) on Internet ($20-$30 per year)
Computer tutorial only (no Workbook)
On CD-ROM (for PC) ($50 + shipping)
On Internet ($25 per year; $15 per 6 months)
Workbook only (no computer tutorial)
Printed ($19.50 + shipping)
Printable on Internet ($6)
Organ 101 Introduction (free selected lessons)
On CD-ROM (for PC) or on Internet

ORGAN COURSES THROUGH BYU INDEPENDENT STUDY AND THE INTERNET

Visit http://organ.byu.edu and then click BYU Independent Study Students and follow the specific links.
College-credit courses:
Music 399R Sections (Levels) 1-6 http://ce.byu.edu/is/site/courses/university.cfm?subject=10000066
Noncredit courses (free or low cost) http://ce.byu.edu/is/site/courses/free.cfm
Organ 71—Beginning organ for pianists with little or no previous formal organ training, or who need help in applying what
they have learned in their organ playing.
 Certification track (a $40 non-credit version of Music 399R Level 1 that offers a certificate)
 Self-study track (a free non-credit version of Music 399R Level 1 that does not offer a certificate)
Organ 72—Review of basics for those with organ training, but who would benefit from a review of basic legato organ
technique, repertoire, hymn playing, and registration. Should be able to sight-read single-line melodies.
 Certification track (a $40 non-credit version of Music 399R Level 2 that offers a certificate)
 Self-study track (a free non-credit version of Music 399R Level 2 that does not offer a certificate)

The New LDS Organist (A free “quickstart” organ course in 12 podcasts & packet) Visit http://organ.byu.edu/newldsorganist

Creative Hymn Playing Techniques (Music 116R podcasts—audio lessons) visit http://organ.byu.edu/116podcasts.htm

ORGAN WORKSHOPS
The BYU Organ Workshop (for adults, first Tuesday thru Friday of August annually) — http://organworkshop.byu.edu
The BYU Young Musicians SummerFestival (for ages 14-18, annually in mid-June) — http://summerfestival.byu.edu
  The New LDS Organist  22   

Redeemer of Israel
Example of Fully-Prepared Score

The following have

been added into the
score:

Text
• Keywords underlined
• Phrasing (given with
slurs, breath marks [V]
and verse numbers in the
text)

Plan for treatment of

repeated notes
(ties only)

Fingering and
pedaling
(note changes in the last
two measures to allow for
right-hand stop changing
between verses)

Music—Instructions
for the introduction
• Modified “boundaries”
(marked with double
diagonal lines)
• Idea (soprano and alto
duet, then accompanied)
• Registration (trumpet
duet alone, then with flue
accompaniment)

Registrational plan
• Combination listed for
pistons 1 and 2
• Manual indications
(given at the beginning of
each verse)
• Stop change indications
(given at the end of each
verse)
  The New LDS Organist  23   

Sample of a Hymn Marked

in Shortcut Mode
 Now Let Us Rejoice 3
Simplified for organ in four parts

Cheerfully q=100-120 Arranged by Don Cook

3 5

## 3 œ
1 4 5 5 1

œ œ œ
2 3 3

œ œ œ œœ
2

& 4 œœ .. œ œ˙ . œ ˙. ˙. œ œ ˙
1.Now let us re - joice in the day of sal - va - tion. No
2.We'll love one an - oth - er and nev - er dis - sem - ble, But
3.In faith we'll re - ly on the arm of Je - ho - vah To

? # # 3 œœ . œ œ˙ . œ
1

œ˙ . œ
2

œ œ˙ œ œ œ œ˙ œ œœ
3 3

4 .

##
5 4 4 3 3
2 1 2 4

œ˙ œ œ
1 2 1 1

& œ œ˙ . œ œ œœ œœ . œ œ˙ . œ
5

. œœ œœ ˙˙
lon - ger as strang - ers on earth need we roam. Good tid - ings are
cease to do e - vil and ev - er be one. And when the un -
guide thru these last days of trou - ble and gloom, And af - ter the

? # # œ˙ . œ œ œ˙ œ œ œ œ œ ˙ œ . œ œ˙3 œ
1 1 2

. . œ
˙. ˙ œ

j
3

## œ
5

œ 2 œ . œ œ .. œ ˙˙
5 2 1 1

œ
3 3 2

˙. œ œ
& œ œ œ œ œ. œ
˙. œ ˙
10

˙
sound - ing to us and each na - tion, And short - ly the hour of re -
god - ly are fear - ing and trem - ble, We'll watch for the day when the

œœ
scourg - es and har - vest are o - ver, We'll rise with the just when the

œ œ ˙
1 1

œ ˙˙
1 2

? # # œ˙ . œ œ œ˙ . œ˙ œ œœ
4 2

œ . ˙ œ
 Now Let Us Rejoice

## j
4 5 4

œœ ˙
2

œœ # œ . œ œ˙ . œ .
2 1 1

& œ ˙ œ ˙ œ ˙ #œ . œ
15

œ ˙. ˙.
demp - tion will come, When all that was prom - ised the Saints will be
Sav - ior will come, When all that was prom - ised the Saints will be

œœ
Sav - ior doth come. Then all that was prom - ised the Saints will be

œ œ ˙˙ j
? ## œœ ˙˙ . # œ . œ œ˙ . œ . œ ˙˙ . #œ . œ
2 3

˙ œ

##
5 5 4 3
3
2

œ
1

œ œœ œ˙ œ
2 1 1

& œ œ˙ . œ œ œœ œœ . œ
20

˙ . œœ œœ ˙˙
giv - en, And none will mo - lest them from morn un - til ev'n, And
giv - en, And none will mo - lest them from morn un - til ev'n, And
giv - en, And they will be crown'd with the an - gels of heav'n, And

œ œ œ œ˙ œ œ œ œ œ ˙ œ. œ
1 2

? # # œ˙ œ œœ
1

˙. . ˙. ˙ œ

## 4

œ
2
œ
5

œ
2

œ œ œ œ œ
1 2 2 3

& œ˙ . œ œ œ
25

˙. ˙. ˙
earth will ap - pear as the Gar - den of E - den, and
earth will ap - pear as the Gar - den of E - den, and
earth will ap - pear as the Gar - den of E - den, and

œ
1

? # # œ˙ . œ œ œ˙ œ œ œ˙ . œ œ˙ œ œœ
4

œ
3

j
5 3 5

## œ .
3 4

˙
2

œ œœ .. œœ
1 1 1 1

œ ˙˙ œœ Œ
2

& ˙ œ. œ œ ˙
29

Je - sus will say to all Is - rael, "Come Home."

Je - sus will say to all Is - rael, "Come Home."

œœ œœ
Christ and his peo - ple will ev - er be one.

œ ˙ Œ
1

? # # ˙˙ . œ œ ˙
1 2
3 2

˙ œ ˙ œ ˙
Œ
 High on the Mountain Top 5
Simplified for organ in three parts

Resolutely h=56-72 Arranged by Don Cook

#
C ˙. œ œ œ œ œ œ œ œ #œ
2 3 2

œ œ œ œ ˙. œ
2

&
1

œ
1.High on the moun - tain top A ban - ner is un - furled. Ye na - tions, now look
2.For God re - mem - bers still His prom -ise made of old That he on Zi - on's
3.His houseshall there be reared, His glo - ry to dis - play, And peo - ple shall be
4.For there we shall be taught The law that will go forth, With truth and wis -dom

˙ . œ2
1

œ œ œ œ œ
2 2

œ œ œ œ
3 3 1

?# C œ ˙˙ .. œœ œ œ œ œ
5 5 4 3

w w w w

# ˙ œ œ œ ˙. œ
2

˙
1 3

& œ
2 1 5 2

œ œ œ ˙. œ œ
up; It waves to all the world. In Des - er et's sweet,
hill Truth's stan - dard would un - fold! Her light should there at -
heard In dis - tant lands to say: We'll now go up and
fraught, To go - vern all the earth. For - ev - er there his

˙ œ œ œ œ œ3 œ
1 2 1

œ
1

œ
2

œ ˙˙ .. ˙.
3

?# ˙w œ
4 4 5

w œ w ˙. Œ

# œ œ œ #œ ˙. œ5 ˙ ˙ œ œ œœ ˙.
2 1

& ˙ ˙
peace - ful land, On Zi - on's mount be - hold it stand!
tract the gaze Of all the world in lat - ter days.
serve the Lord, O - bey his truth and learn his word.
ways we'll tread, And save our - selves with all our dead.

œ œ œ ˙. œ œ œ œ œœ # œœ œ˙ œ ˙ œ œ
4

œ ˙.
5 1

?# wœ
4

˙. œ ˙ ˙
Ó ˙ ˙.
 We Thank Thee, O God, for a Prophet 19
Simplified for organ in four parts
Resolutely h =76-92
}54 42
Arranged by Ruth Eldredge and Don Cook

## 4
3 5 3 4 3 4

& 4 œ . œ œ˙ œ . œ œ . œ œœ .. œœ ˙˙ œ œ . œ œœ œœ .. œœ œœ œœ .. œœ
1 1 3 1 2 1 2

1.We thank thee, O God, for a proph - et To guide us in these lat - ter
2.When dark clouds of trou - ble hand o'er us And threat - en our peace to de -

œ . œ ˙œ . œ œ . œ ˙ œœ 4
3.We'll sing of his good - ness and mer - cy. We'll praise him by day and by

? # # 44 œœ . œ œ˙ œ . œ ˙œ œ ˙
1

˙ œ œ .œ œ œ
4 2 2
2

##
5

œ . œ œ . œ œ . œœ ˙˙ œœ œœ .. œœ
4 5

œœ œœ .. œœ œœ œœ .. œœ
4 3 3 3 3

&
2 3

˙˙ .. œ . œ œ˙
1 1 1 1 2 1 2 1

days. We thank the for send - ing the gos - pel To light - en our minds with its
stroy, There is hope smil -ing bright - ly be - fore us, And we know that de - liv' - rance is

œ . œ œ . œ 2 œœ .. œ ˙ œ œ ˙
night, Re - joice in his glo - ri - ous gos - pel, And bask in its life - giv - ing

? ## ˙ . œœ . œ œ˙ ˙
1

˙ ˙ œ œ
4 2 2

˙. ˙ ˙
}54 42
## œ œ . œ œœ œœ .. œ
5 3 5 4
8 2 4

œœ ˙˙ œ œœ .. œœ œœ œœ .. œœ
1 1 3 4 4

& œ
2

˙˙ .. œ œ. œ œ . œ œœ
1 2 2 1 2 2

rays. We thank thee for ev - e - ry bleses - ing Be - stowed by thy boun - te - ous
nigh. We doubt not the Lord nor his good-ness. We've proved him in days that are

œ ˙ 2 œœ
light. Thus on to e - ter - nal per - fec - tion The hon - est and faith - ful will

? # # ˙˙ .. œœ ˙˙ . ˙ ˙ œ œœ . œ ˙œ œ . œ ˙˙
4 2

}54 42 31 41
## œ œ . œ œœ œœ .. œœ
2 5 4 3 5 4
12 4

˙˙ .. œœ ˙˙ œ œ
3

œ . œ œœ œ .. œœ œœ œœ .. œœ
1 2 1 3

&
1 2

œ œ. œ
1 2 1 3 2

˙.
hand. We feel it a plea -sure to serve thee, And love to o - bey thy com - mand.
past. The wick - ed who fight a - gainst Zi - on Will sure - ly be smit - ten at last.

œ˙ œ ˙ 2 œœ 4 œ ˙
go, While they who re - ject this glad mes - sage Shall ne - ver such hap - pi - ness know.

? # # ˙ . œœ ˙˙ ˙ œ œœ . ˙ œ œ ˙˙ ..
1
2

˙. ˙
* RH and LH
are played on
different manuals
A Poor Wayfaring Man of Grief 29
with similar simplified for organ in three parts
registration

Peacefully e = 96-112 Arranged by Shinji Inagi

bb b b 6 j œ j 1 3
œ œ œ œj œ œ
4 5

8 œ œ œ œœ œ œœ œ œœ
3

œ œ œ œ
3 4

&
RH 3 2 1 4 2
2 4 2 1 2
2 3 2

œ
1.A poor way - far - ing Man of grief Hath of - ten crossed me on my way, Who
2.Once, when my scant - y meal was spread, He en - tered; not a word he spake, Just

j
3.I spied him where a foun - tain burst Clear from the rock; his strength was gone. The

œ œ œ œ œ œ œ œ œ œjœ œ œ œ œ œ œ œ j 4 œ œ2
1 3 1 2 1 2 1 1 1

œ œ œ
LH 2 3 2 3

? b b b 68
4 3 4

b œ œ. œ. œ. œ. œ. œ. œ. œ.
Ped
J

j j 5 43 2 1 2 1 3 4
b œ œ œ œœ œ œ œ œ œ œ
& b bb œ œœ œ œ
3 4 4

œ œ œœ
5 2 4 2 1 2 3 2 3
1

œ œ
sued so hum - bly for re - lief That I could nev - er an - swer nay. I
per - ish-ing for want of bread. I gave him all; he blessed it, brake, And

j 1 3 2
heed - less wa - ter mocked his thirst; He heard it, saw it hur - ring on. I

œ œ œ œœ j jœ œ œ œ œ
2

œ œœ œ œ œ œ
3 1 2 1 1 2 3

? bb b œ œ œ œ
3 2 2
4 3 4

b œ. œ. œ. œ. œ. œ. œ. œ.

j 4 3 4 j 3 2 j
b œ œ œ œ œ œ œ œ œ œ
& b bb œ œœ œ œ œ j
9 5 4
52 3 3

œ œ œ œ
2 3 2

had not pow'r to ask his name, Where - to he went, or whence he came; Yet
ate, but gave me part a - gain. Mine was an an - gel's por - tion then, For

j 2 3 2 j 3 4 j 2 1
ran and raised the suf - f'rer up; Thrice from the stream he drained my cup, Dipped

œ œ œ œ œ œ œ œ œ œ j 4 œ 2
œ œœ œ œ œ
1 1

œ œ œ
1 3

? bb b
3 4

b œ. œ. œ. œ. œ. œ. œ. œ.
 A Poor Wayfaring Man of Grief

j œ œ j5 4 3 2 1 2 1
b œ œ œ œ œ œ œ œ œ
& b bb
3 4 4

œ œ œ œ œ œ œ
13 2 4 2 1 2 3 2 3
1

œ œ
there was some - thing in his eye That won my love; I knew not why.
while I fed with ea - ger haste, The crust was man - na to my taste.

j j 1
and re - turned it run -ning o'er; I drank and nev - er thirst - ed more.

œ œ œ œ j jœ 2 3 4 œ œ
2

œ œ œ œ œ œ œ œ œ œ
1 2 1 1

? bb b œ
3 2 2
3 4 3

b œ. œ. œ. œ. œ. œ. œ. œ
 Come, Come, Ye Saints 30
With conviction q »66
Simplified for organ in 3-4 parts
Arranged by Ruth Eldredge

# c 3 j ˙ 43 œœ . œ ˙˙
5

œ. œ œ.
4 4

œ œ œ œ c
1

œœ . œ ˙˙
1 2 3

& œ œ
3 2 1 1 2 3

˙
1.Come, come, ye Saints, no toil nor la - bor fear; But with joy wend your way.
2.Why should we mourn or think our lot is hard? 'Tis not so; all is right.
3.We'll find the place which God for us pre - pared, Far a - way in the West,

?# c œ œ. œ œ. œ3 œ2 œ œ œ ˙ 3 œ4 . œ ˙ œ. œ ˙
4.And should we die be - fore our jour -ney's through, Hap - py day! All is well!

J 4 c
3

?# c œ. j 43 œ œ c
w œ ˙ ˙ ˙

# c 3 j U
43 œœ . œ
5 3

œ . œ œ . œ œ œ œ œ ˙˙ œœ œ
5 4 4

˙˙
3

œœ . œ
1 2 3

& œ œœ
3 2 1 1 2 1
1

Though hard to you this jour -ney may ap - pear, Grace shall be as your day. 'Tis
Why should we think to earn a great re - ward If we now shun the fight? Gird
Where none shall come to hurt or make a - fraid; There the Saints will be blessed. We'll

?# c œ œ . œ œ . œ3 œ2 œ œ œ ˙ 3 œ4 . œ ˙ œ. œ œ œ3 œ
We then are free from toil and sor - row, too; With the just we shall dwell! But

J 4
3

?# c œ. j 43 œ œ
w œ ˙ ˙
uœ œ

# ‰
5 4

& œœ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ j
9 2 4

œ˙ œ œ
1 5 4 5 5 1
4
1

˙. ˙. œ
bet - ter far for us to strive our use - less cares from us to drive; Do
up your loins; fresh cour - age take. Our God will ne - ver us for - sake; And
make the air with mu - sic ring, Shout prai - ses to our God and King; A -

?# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ 5 œœ
if our lives are spared a - gain to see the Saints their rest ob - tain, Oh,
1 1

J
?# œ ˙.
˙. ˙ ˙.

# j ˙
1

œ œ.
4

œ
13 1

& œ œ. œ ˙ œœ . œ ˙˙
œ œ ˙
5 5

œ
4 4 3 4 5 2 3

this, and joy your heart will swell - - - All is well! All is well!
soon we'll have this tale to tell - - - All is well! All is well!
bove the rest these words we'll tell - - - All is well! All is well!

œœ œœ .. œ ˙. œ
? # 4 œœ œ ˙2 œ4 . œ ˙ œ. œ ˙
how we'll make this cho - rus swell - - - All is well! All is well!

œ
2 1 1 5 1

J
3 2 1 4

?# œ ˙ œ
˙ œ œ ˙ œ ˙
 Come, Ye Children of the Lord 58
Simplified for organ in four parts
Exultantly q=88-104 Arranged by Ruth Eldredge

b j 2 () œ
5

œ
5 4 3

& b c œ˙ . œ
5 4 3

œ œ˙ œ œ˙ œ œ œ ˙
4 2 1

œ
2

˙
1 2 1

˙
1.Come, ye chil - dren of the Lord, Let us sing with one ac - cord.
2.Oh, how joy - ful it will be When our Sav - ior we shall see!
3.All ar - rayed in spot -less white, We will dwell 'mid truth and light.

˙ œ ˙˙ ˙ œ œœ œœ ˙˙
1 2 1 2

œ œ œ ˙ œ
2 2 4 3 3
3 4

? bb c ˙ ˙
4 4 5

œ ˙ ˙ ˙ ˙ ˙
.

b j 2 () œ
5

œ
5 4 3

& b œ˙ . œ
5 4 3

œ œ˙ œ œ œ œ œ ˙
2 4 2 1 1 2

œ˙ ˙
1 2 1

˙
4

Let us raise a joy - ful strain To our Lord who soon will reign
When in splen - dor he'll de - scend, Then all wick - ed - ness will end.
We will sing the songs of praise; We will shout in joy - ous lays.

˙ œ ˙˙ ˙˙ œ œœ 24œœ 35˙
1 2 1

œ œ œ ˙
2 2 4 3

œ
3

? bb ˙ ˙
4 4

œ ˙ ˙ ˙ ˙ ˙
.
j 31 j
5 4

b . œœ œœ
4

œ.
4

& b œ˙ œ œ œœ œœ ˙ œ œ œœ œœ
4

˙˙
2 1 2 1
1

œ ˙ ˙ œ
8

On this earth when it shall be Cleansed from all in - i - qui - ty,

Oh, what songs we then will sing To our Sav -ior, Lord, and King!
Earth shall then be cleansed from sin. Ev - 'ry liv - ing thing there - in

? b b ˙˙ œ˙ œ wœ œ ˙ ˙ œ˙ œ œw œ ˙
3 3 2 3
4

j
5

b œ. () œ œ
5 4 3

œ
5 1 4 3

b œ œ˙ œ œ œ œ ˙
4 2

œ
2 2 2 1

& œ˙ ˙
1

˙ ˙
12

When all men from sin will cease, And will live in love and peace.
Oh, what love will then bear sway When our fears shall flee a - way!
Shall in love and beau - ty dwell; Then with joy each heart will swell.

˙ œ ˙˙ ˙˙ œ œœ œœ ˙˙
1 2 1 2

œ œ œ
2 2 4 3 3

œ
3 4

? bb ˙ ˙
4 4 5

œ ˙ ˙ ˙ ˙ ˙
.
 Glory to God on High 67
Simplified for organ in three parts
Joyfully q»88-104 Arranged by Jane Dye

& b 43 œ œ œ œ œ
5 4

œ œ ˙. œ
2 3 1

œ
1.Glo - ry to God on high! Let heav'n and
2.Je - sus, our Lord and God, Bore sin's tre -
3.Let all the hosts a - bove Join in one

œ œ ˙˙ .. œ
? b 43 œ˙ . œ œ œ ˙˙ .
3 1 2 3 3
5

œ ˙

& b œ. œ œ œ
5

œ ˙. œ œ
4 5 4 2 1

˙.
earth re - ply. Praise ye his name.
men - - - dous load. Praise ye his name.

˙ œ ˙.
song of love, Prais - ing his name.

œ œ
? ˙. œ
2 2 1 2

˙. ˙. ˙.
3

b
5

j j
&b œ œ œ
9

œ œ. œ œ œ œ œ. œ œ
2 2 3

His love and grace a - dore, Who all our sor - rows bore.
Tell what his arm has done, What spoils from death he won.

j j
To him as - crib - ed be Hon - or and maj - es - ty

? b œ˙ .
5
œ
4
œ œ˙ ..
4
œ œ œ˙ .
5
œ
4
œ œ˙ ..
4
œ œ

&b œ œ œ. œ œ œ
13

œ œ œ
2 4

J ˙.
1 3 1 2

Sing a - loud ev - er - more: Wor - thy the Lamb!

Sing his great name a - lone: Wor - thy the Lamb!

j œ
Thru all e - ter - ni - ty: Wor - thy the Lamb!

œ œ˙ .. œ œ œ œ ˙˙ ..
? b œ˙ . œ
4 2 4 1

œ ˙
RH and LH are played
on different manuals
Dearest Children, God is Near You 96
with similar registration Simplified for organ in three parts

Resolutely h = 56-72 Arranged by Ruth Eldredge

bb 3 2 ˙ œ5 œ œ œ ˙ ˙
& 4 ˙
1 4 1 2 1 4 2

œ œ ˙ œ œ ˙ œ ˙.
1.Dear - est child - dren, God is near you, Watch - ing o'er you day and night,
2.Dear - est child - ren, ho - ly an - gels Watch your ac - tions night and day,

˙1 . ˙. œ3 œ œ ˙. ˙. ˙1 œ3 ˙ ˙.
3.Chil - dren, God de - lights to teach you By his Ho - ly Spir - it's voice.

? b b 43 œ

? b 3 œ ˙. ˙ œ ˙.
b 4 ˙ œ ˙. ˙ œ ˙. ˙

b ˙.
&b ˙ ˙ #œ œ ˙ œ œ œ ˙
3 4 1 3

œ œ œ œ ˙ œ ˙ œ œ
And de - lights to own and bless you, If you strive to do what's right. He will
And they keep a faith - ful rec - ord Of the good and bad you say. Cher - ish

˙1 . œ œ œ ˙ œ ˙ ˙1 . œ ˙1 . ˙ œ1
Quick - ly heed its ho - ly prompt -ings. Day by day you'll then re - joice. Oh, prove

? bb œ ˙5 œ ˙
2 2

? bb ˙ œ ˙. œ ˙. ˙. ˙. ˙. ∑
˙ ˙.

b ˙ ˙ œ œ œ œ ˙.
&b œ œ œ ˙ ˙ œ
2 4 4 1

˙
bless you, He will bless you, If you put your trust in him.
vir - tue! Cher - ish vir - tue! God will bless the pure in heart.

œ ˙ ˙ œ œ ˙ ˙ œ œ œ ˙ œ ˙.
faith - ful, Oh, prove faith - ful To your God and Zi - on's cause.

? bb œ5
3 2 1 1 2 3 2 1

? bb ∑ ∑ ∑ ˙ œ ˙ œ œ œ œ ˙.
 I Need Thee Every Hour 98
Simplified for organ in three parts

Fervently q» 60-72 Arranged by Jane Dye

# 3 3 j j 3 2
& 4 œ œ. œ œ œ ˙ œ œ. œ œ œ
5

˙ œ
1.I need thee ev - ery hour, Most gra - cious - Lord. No
2.I need thee ev - ery hour, Stay thou near - by. Temp -

j
3.I need thee ev - ery hour, In joy or pain. Come

œ. œ œ œ ˙
4.I need thee ev - ery hour, Most ho - ly One. Oh,

? # 43 œ ˙ œ
œœ œ
˙ œœ
3 1 1

œ
3

˙
2 4
5 4

œ ˙ ˙ œ ˙

# j
œ. œ œ ˙ œ œ . œj œ œ
5

& œ œ. œ œ œ ˙
4 5 4 3

J œ
ten - der voice like thine Can peace af - ford.
ta - tions lose their pow'r When thou art nigh.
I need thee, oh, I
quick - ly and a - bide, Or life is vain.

j œ œ . œj œ œ
1 2

œ . œj œ œ ˙˙
make me thine in - deed, Thou bless - ed Son!

? # œ˙ . œ œœ ˙ œ
1
1 2

˙. ˙ œ œ ˙ œ

# jœ j 2 1 3 4
œ ˙ œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ . œj œ
10

& ˙
3 2 3 5

need thee; Ev-ery hour I need thee! Oh, bless me now, my Sav - ior, I come to thee!

œ j
œ. œ œ œ œ œ œ ˙ œ ˙ œ œ . œj œ
1 4

˙
1 2 1 2
5 3

? # ˙ .œ ˙
5 2 2

˙ œ œ ˙ œœ œ ˙ œ
˙ ˙ ˙
 Nearer, My God, to Thee 100
Simplified for organ in three parts

Gently q=63-76 Arranged by Don Cook

&b c ˙ œ . œj ˙ œ œ ˙. Œ ˙
5 5

œ œ œ œ
3 2 1

˙
1.Near - er, my God, to thee, Near - er to thee! E'en though it
2.Though like the wan - der - er, The sun gone down, Dark - ness be

œ . œj ˙
3.There let the way ap -pear, Steps un - to heav'n; All that thou

˙ œ œ œ œ ˙. Œ ˙ œ œ
w˙
2 2

?b c w w w
4

˙.
Œ

& b œ . œj ˙ œ Œ ˙ œ œ œ . œj ˙
3 2 4

œ œ œ ˙.
be a cross That rais - eth me. Still all my song shall be
o - ver me, My rest a stone, Yet in my dreams I'd be

œ . œj ˙ j
send - est me, In mer - cy giv'n; An - gels to beck - on me

œ œ ˙˙ .. Œ œ œ œ
wœ .
2

? w ˙ ˙w ˙
3 4

b w
Œ

&b ˙ œ œ œ . œj ˙
œ . œj ˙ Œ
5

˙ œ œ
œ œ œ œ
3 2

˙.
Near -er, my God, to thee, Near - er, my God, to thee, Near - er to thee!
Near -er, my God, to thee, Near - er, my God, to thee, Near - er to thee!
j
œ . œj ˙
Near -er, my God, to thee, Near - er, my God, to thee, Near - er to thee!

œ. œ ˙
˙w œ œ w˙ œ œ ˙ œ œ ˙˙ .. Œ
2 2

?b w
4 4

w w
Œ
 Precious Savior, Dear Redeemer 103
Simplified for organ in three parts

Reverently q»66-76 Arranged by Jane Dye

bb b 3 3 œ. j
& 4 œ. œ œ œ. œ œ. œ œ œ
5 3

œ œ
1 3 3

œ œ
2

1.Pre - cious Sav - ior, dear Re - deem - er, Thy sweet mes - sage now im -
2.Pre - cious Sav - ior, dear Re - deem - er, We are weak but thou art

œ œ . œj œ2 œ1
3.Pre - cious Sav - ior, dear Re - deem - er, Thou wilt bind the bro - ken

? b b 43 œœ . œ œ˙ œ
œ. œ œ˙
3

œ œ œœ .
2 4 2 4 5 2

b ˙ œ

bbb
4

& ˙ œ. œ œ œ. œ. œ
3 2

œ œ
3 1 3

œ œ
part. May thy Spir - it, pure and fer - vid, En - ter
strong; In thy in - fi - nite com - pas - sion, Stay the

œ.
heart. Let not sor - row o - ver - whelm us; Dry the

˙ œ œ. œ
œ . œ œ˙ œ œ˙
2

œ œ
2 2

? bb ˙
2

œ œ
4 4

b b b œ4 . j œ. œ
œ œ nœ ˙ œ
7 4

& œ œ œ.
1 4 4 3

ev - - - 'ry tim - id heart; Car - ry there the swift con -

tide of sin and wrong. Keep thy lov - ing arms a-

j œ2 œ1 œ œ.
bit - - - ter tears that start. Curb the winds and calm the

œ. œ ˙ œ. œ œ
? bb L ˙
3 3 3

œ
3

b ˙ œ ˙ œ
 Precious Savior, Dear Redeemer

U5
bbb j œ
10

œ. œ #œ nœ œ.
4

& œ œ œ
3 4 3

œ œ
2 4 3

œ.
2 2

vic - tion, Turn - ing back the sin - ful tide. Pre - cious
round us; Keep us in the nar - row way. Pre - cious

j 3 U
bil - lows; Bid the an - gry tem - pest cease. Pre - cious

œ œ œ n œ œ n œœ
œœ . n œ n œ˙ . L b œœ œœ . œ
2 2 2 3

? bb ˙
4 2

b œ

bbb œ. œ œ œ. œ œ œ 1 Œ
13

œ
4 2

&
3

œ
2 1 4 5 5

œ œ œ ˙
Sav - ior, dear Re - deem - er, May each soul in thee a - bide.
Sav - ior, dear Re - deem - er, Let us nev - er from thee stray.
Sav - ior, dear Re - deem - er, Grant us ev - er - last - ing peace.

œ œœ . œ L œœ œ n œ3
œœ . œ œ˙ bœ
3 1

? b b œ˙ œ ˙˙ Œ
4 1

œ œ
4 3 2 4 5

b œ Œ
L
 Did You Think to Pray? 140
Simplified for organ in three parts

Thoughtfully q = 72-88 Arranged by Shinji Inagi

b j
& b b 44
j Œ
œ. œ œ œ œ œ œ. œ œ œ
5 5

˙.
4 4 3 4

˙
2 1 2 3 3

˙
1.Ere you left your room this morn - ing, DId you think to pray?
2.When your heart was filled with an - ger, Did you think to pray?

j 2œ j œ1 2œ
3.When sore tri - als came up - on you, Did you think to pray?

œœ . œœ œ œ œœ œ œ. œ ˙. Œ
3

˙˙ ˙˙
2

? b b 44
3

.
5

b J œ. œ œ œ ˙. Œ
J

bbb j ˙ œ.
j 5
œ œ œ œ œ
4

& œ. œ œ œ œ œ ˙
3 2 3 4 5 4 2

In the name of Christ, our Sav - ior, Did you sue for lov - ing
Did your plead for grace, my broth - er, That you might for - give an -

j j
When your soul was full of sor - row, Balm of Gil - ead did you

œ. œ œ œ œ œ ˙˙ œœ . œœ œœ œ œœ œ
1 2 1 1

˙˙
2

? bb œ
2 2

.
4 3

b . œ œ œ J
J

bbb j j Œ œ. œ œ œ nœ œ
7 3

& œ
2

œ œ. ˙.
1 3 2 2 3 4 3

˙
1

˙ œ. J
fa - vor As a shield to - day?
oth - er Who had crossed your way? Oh, how pray - ing rests the

œj
bor - row At the gates of day?

˙ j Œ j œ3 4 5 4
? bb ˙ œ. œ œ. ˙˙ .. œœ .. œœ œ œ # œœ œ
3 1 4
5 4 4

b ˙ ˙ ˙ ˙ Œ J
 Did You Think to Pray?

bbb ˙ ˙ œ. œ œ œ œ Œ
11

& œ ˙.
5 1 4 5 4 1

J
3

wea - ry! Prayer will change the night to day.

j œ œ ˙. Œ
1 2

œœ . œœ œœ
3

? b b ˙˙ ˙˙ œ
2 4 3

. œ
4 4

b J ˙. Œ

bb
& b œ.
j
œ œ œ œ œ j j 3 Œ
14

œ ˙.
5

œ œ.
4 5

˙
1 3 2 3 4

˙ œ.
So, when life gets dark and drea - ry, Don't for -get to pray.

j œ1 2
? b b œœ .. œœ œ œ œœ œ ˙ ˙ œj œ . œj ˙˙ . Œ
1 2

œ.
2

.
4 3 4 3 4
5

b J ˙ ˙ ˙ ˙ Œ
* RH plays soprano
LH plays alto Sweet Hour of Prayer 142
each played on different Simplified for organ in three parts
manual, but with similar
registration

q. = 42-48
j œ j
Peacefully Arranged by Shinji Inagi
j
& 68
j œ j 3 2 1
5

j œœ œ œ œœ
4

œœ œœ œœ œœ
4 2 3 4 3

œœ œœ œœ œœ œ
1 2 3 2

œ
5J 4J 4J 2J 1 2J
4J 4
3 3 3
5 5 4
1.Sweet hour of prayer! Sweet hour of prayer! That calls me from a

? 68 œ œ œ œ
2.Sweet hour of prayer! Sweet hour of prayer! Thy wings shall my pe -

œ œ œ œ œ J J œ œ œ œ
J J J J J

j j j j j
œœ œœ
5

j œœ œœ
4 4

& œ œœ œœ œœ
1 4 2 3 4

œœ œœ œœ
2 3 2 2 3

œ œ 4J 4J 2J 2J
4J 5J
3 1
5 5 3
5
world of care And bids me at my Fa - ther's throne Make

? œ œ œ œ œ œ œ
ti - tion bear To him whose truth and faith - ful - ness En -

J œ œ œ œ œ J J
J J J

j j j
j j œ œœ œœ
5 5

j œœ
7 4

& œœ œœ
3 3 3

œœ œœ œœ œ
2 3 1 3 2 1

œ œœ œ 2J 2J
4J J 3 J
3
4 5
J 4 3 1

all my wants and wish - es known. In sea - sons of dis -

? œ œ œ œ
gage the wait - ing soul to bless. And since he bids me

œ œ œ J œ œ œ œ œ J
J J J J

j j j
j œ œœ œœ j
5 5

œœ j
10 4

& œœ œœ œœ œœ œœ
2 2 2 4 3

œ œœ œœ
1 2 1 1

J 2J 2J
œ
5J 4J 5J
3 3 1 3
3
5
tress and grief, My soul has of - ten found re - lief And

? œ œ œ
seek his face, Be - lieve his word, and trust his grace, I'll

œ œ œ œ œ œ œ œ œ
J J J J J J
 Sweet Hour of Prayer

j j œ j 3
& œ œœj œœ œ j3 2 j
5

œœ œ œ œœ œœ j
13 4

œœ
4 2 3 4

œœ œœ œœ œ œœ œœ œœ
2 3 2 1 2 3 2 1

œ J 4J
2J 2J
œ
4J 4J 5 5J
3 1
4 3 3
5 5 4 5
oft es- caped the tempt - er's snare By thy re - turn, sweet hour of prayer! And

? œ œ œ œ œ œ œ œ œ œ
cast on him my ev - 'ry care, And wait for thee, sweet hour of prayer! I'll

œ J J œ œ œ œ J œ
J J J J J
U
j j 5œ j
& œœ œœj œœ œœ œœ œ œœ j j œœ œœj œ
17 4

œœ œœ
4 2 3 4 3

œœ œœ
2 3 2 3 1 3 2 1

4J
J 1 2J
œ
4J 3 4J J 5J 4
3 2 3
5
oft es - caped the tempt - er's snare By thy re - turn, sweet hour of prayer!

? œ œ œ œ œ œ œ œ
cast on him my ev - 'ry care, And wait for thee, sweet hour of prayer!

œ œ œ J J œ œ œ œ J
J J u J J
 Let the Holy Spirit Guide 143
Simplified for organ in four parts

Gently h =60-80 Arranged by Ruth Eldredge

}42
5 4 3 3 4 5
5

& b 43 œ˙ . œ œ
3 4 4

œ˙ . œ œ
1 2

œœ œœ ˙˙
1

œ œœ œœ ˙
2 2 2 2

œ
1.Let the ho - ly Spir - it guide; Let him teach us what is true.
2.Let the ho - ly Spir - it guard; Let his whis - per gov - ern choice.
3.Let the Spir - it heal our hearts Thru his qui - et, gen - tle pow'r.

œ œœ œœ ˙. ˙œ n œœ œ œ ˙˙
? b 43 œ œ
1

œ ˙ œ
3

} 3
5 3 4 5 4 5 }42
œ
1

& b œ œ œ œœ œ ˙œ œ
2

œ œ ˙˙ œœ œœ
3 1 1 2 1 2

œ ˙
He will tes - ti - fy of Christ, Light our minds with hea - ven's view.
He will lead us safe - ly home If we lis - ten to his voice.

œœ
May we pu - ri - fy our lives To re - ceive him hour by hour.

œœœ œœ œ ˙ œœ œœ œ œ ˙˙
1 1 1

?b
2 2
3

˙ œ
5

œ œ œ
L

Text by Penelope Moody Allen, b. 1939. © 1985 LDS.

Used by permission.
 Lord, Dismiss Us with Thy Blessing 163
Simplified for organ in four parts
Thoughtfully q»56-76 Arranged by Jane Dye

b 4
5
4 3 4

&bb 4 œ œ œ œ
1

œ˙ œ œ œ œ œ˙ œ ˙œ œ œ œ œœ œ œœ œ ˙
2 1 1 5 2

w
1.Lord, dis - miss us with thybless - ing; Fill our hearts with joy and peace.
2.Thanks we give and ad - o - ra - tion For the gos - pel's joy - ful sound.

? b b 44 wœ œ œ œ3 œ ˙ œ œœ
˙ œw œ œ œ œ œ œ3 œ œ ˙˙
1 3 1 2

b ˙ ˙

b
5
4 4

& b b œ˙ œ œ œ œ œw œ
3

œ œ œ
5 1

œ˙ œ œ˙ œ œ œœ œ œœ œ ˙
2 1 1 5 2

Let us each, thy love pos sess

- - ing, Tri - umph in re - deem - ing grace.
May the fruits of thy sal - va - tion In our hearts and lives a - bound.

? bb wœ œ œ œ œ ˙ œ˙ œ œ œw œ œ œ œ œ œ œ œ ˙˙
1 3 3 1 2 3

b ˙ ˙

b
5 4

œ œ œ œ œ ˙
2 4 2

& b b œw œ œ œ œ œœ œw œ œ œ œ
9 1 1 1

w w
Oh, re - fresh us, oh, re - fresh us, Trav-'ling thru this wil - der - ness.
Ev - er faith - ful, ev - er faith - ful To the truth may we be found.

? b b œw œ œ œ œ œ œ œ˙ œœ œw œ œ œ œ œ œ ˙˙
2 2
5 5

b ˙ ˙

b
5
4 3 4

& b b œ˙ œ œ œ œ œ œ œ œ œ
13 1

œ˙ œ œ˙ œœ œœ œ œœ œ ˙
2 1 1 5 2

w
Oh re - fresh us, oh, re - fresh us, Trav-'ling thru this wil - der - ness.
Ev - er faith - ful ev - er faith - ful To the truth may we be found.

? bb wœ œ œ œ œ œ œ œ˙ œœ œw œ œ œ œ œ œ3 œ œ ˙˙
1 3 1
3 2

b ˙ ˙
 While of These Emblems We Partake 174
Simplified for organ in three parts

Fervently q=72-88 Arranged by Don Cook

b b 3 3 ˙
& b 4 œ œ œ œ
5 1

˙ œ ˙. œ œ œ
1.While of these em - blems we par - take In Je - sus'
2.For us the blood of Christ was shed; For us on
3.The law was bro - ken; Je - sus died That jus - tice

œ ˙
4.But rise tri - um - phant from the tomb, And in e -
˙. œ
? b b 34 œ˙ . œ œ ˙˙ . œ ˙˙
2 1

. ˙.
4

b ˙.

b b b 4˙ œ ˙ nœ œ bœ œ ˙ œ œ œ
& ˙.
4 4

œ
name and for his sake, Let us re - mem - ber and be
Cal - vary's cross he bled, And thus dis - pelled the aw - ful
might be sat - is - fied, That man might not re - main a
ter - nal spen - dor bloom, Freed from the pow'r of death and

˙. ˙ œ ˙˙ .. n ˙˙ . œ ˙˙ .. ˙ œ
2

? b ˙. ˙. ˙.
bb

b bb ˙ .
& ˙ œ ˙
1

œ œ œ œ ˙.
sure Our hearts and hands are clean and pure.

,
gloom That else were this cre - a - tion's doom.
slave Of death, of hell, or of the grave.
pain, With Christ, the Lord, to rule and reign.

? bb ˙˙ .. ˙
4
œ ˙ œ ˙ œ ˙˙ ..
b ˙. ˙. ˙.

"While of These Emblems We Partake"

Original music by Alexander Schreiner and original lyrics by John Nicholson
Composition © by Intellectual Reserve, Inc.
 'Tis Sweet to Sing the Matchless Love 177
Simplified for organ in four parts

Reverently h. = 44 - 52 Arranged by Jane Dye

b 6
4 5

œœ ..
5 4

& b b 4 œœ ‰ œ
3 3 3

œœ œœ
3

˙˙ œœ ˙˙ ˙˙
3 2 2 2

œ
1 1 1

œ
J ‰
1. 'Tis sweet to sing the match - less love Of
2. 'Tis good to meet each Sab - bath day And,

j ‰ 3. Oh, bless - ed hour,

œœ
com mu - nion
œ.
sweet!
‰ 3œ
When

? b b 6 œœ ˙˙ .
.
˙˙ ˙˙ .
. ˙ œ ‰
3 3 1 1

b 4 J ‰ œ J

b
5

j
4

& b b œ. ˙˙ œ ˙˙
3 3 4

‰ œ ‰ œ˙ . œ œ ˙˙ œœ œ œ
3 1

œœ ˙
2 1
1 2 1

. .
Him who left His home a - bove And came to earth, oh
in His own ap - poin - ted way, Par - take the em - blems

‰ j 5 ˙˙
œ ‰ œ˙ . œ œ ˙. œ
chil - dren, friends and teach - ers meet And, in re -mem - brance

? b b œ˙ .. ˙ œ ˙ œ œ ˙˙ .. ˙˙ œ
5 3 1 5 1

b J‰

}51 5
U̇ 1
bb b
4 5

œœ . œ œ ˙ œœ
3

œœ
œ. ‰ œ
œ
3

œ . ‰ œ œ˙ . œ œ ˙˙ ..
6 1 3 2

&
1

˙.
2

˙.
1 1 2 1

‰
won - drous plan, To suf - fer, bleed, and die for man!
of His death, And thus re - new our love and faith. For

œ˙ . œ œ ˙ . ˙˙ .. œœœ .. ‰ 4œœ
? b b œ˙ . œ œ ˙. ˙˙˙ ..
of His grace, U - nite in sweet - est songs of praise.

˙.
1

. .
2 2 2

˙. ˙.
4 3

b ˙. ˙. ‰
u
 'Tis Sweet to Sing the Matchless Love

b œœ œœ .. ‰‰ œœ ˙
5 5 5 5 5 4 4 3 4 5

& b b ˙˙ œ ˙˙ œ ˙ ˙˙ . œ œ ˙
3 4

n œ˙ œ œ
10 1 2 3 4 2 2 1 2 2 1

˙
1

œ ˙
1 1

œ œ . ˙ œ
Je - sus died on Cal - va - ry, That all thru' Him might ran - somed be. Then

˙˙ . œ œ˙ .. ‰ œ ˙˙ . ˙˙ . ˙. ˙
? b ˙˙ œ ˙˙ œ . . ˙.
4 3 4

bb . ˙ œŒ
5

.
5

U 4 }21 3 4
b bb ˙ ˙. ˙ Œ
3 3

œ œ˙ .œ œ ˙˙ œœ ˙œ . œ œ˙ . œ œ ˙˙ ..
14 5

& ˙ œ ˙.
2 4 4 1 2 1 1

‰
sing ho - san - nas to His name; Let heav'n and earth His love pro - claim.

˙ œ œ ˙. ˙˙ .. ˙˙˙ .. ˙˙˙ Œ
? b b ˙ œ ˙ œ œ˙ .œ œ ˙˙
.
˙.
.
1 2 2
2 4

˙. ˙.
3

b Ó. Ó. ˙ œ ˙. Œ
u
 Jesus of Nazareth, Savior and King 181
Simplified for organ in three parts

Worshipfully q=80-92 Arranged by Don Cook

b c ˙4 œ œ œ
b œ . œj ˙ Œ œ
4

& b ˙
3

˙.
2 1 3

œ œ ˙
1.Je - sus of Naz - a - reth,
, Sav - ior and King! Tri - um - phant
2.While of this bro - ken bread Hum - bly we eat, Our thoughts to

j
3.As to our lips the cup Gent - ly we press, Our hearts are

œ ˙ ˙ œ œ Œ ˙ œ œ
1

œ˙ . n˙ .
2

œ œ
3

? b b c ˙w
5 3

b L˙ w L˙ . nœ
L̇ . Œ

b œ. œ ˙
&bb n˙ nœ œ n˙ . Œ ˙5 œ . œj ˙ ˙ œ œ
2 1

#œ œ
2 1 4

J
, Life thou didst bring, Leav - ing thy fa - ther's throne, , On earth to
o - ver death,

, Thy
thee are led In rev -'rence sweet. Bruised, bro -ken, torn for us
, On Cal -vary's

˙ #œ œ ˙ . Œ ˙ 3
lift - ed up, name we bless! Guide us where - e'er we go, Till in the
j 2
j ˙1 4 ˙
˙
3 1 1

? b b L œw.
5
n œ œ œ œ. œ ˙ ˙
b w L w ˙ w
˙. Œ

bbb ˙. Œ œ œ . œJ ˙
œ
œ œ . œj w
1 3 3

& ˙ œ
live, Thy work to do a - lone,
, Thy life to give.
hill, Thy suf - f'ring borne for us Lives with us still.
end Life ev - er - more we'll know Through thee, our Friend.

˙.
2
Œ ˙
1
œ œ . j j
œ Lw œ ˙ ˙ .
œ œ ww
1

˙
3 4 2

? bb n˙ ˙ w
b . Œ
L
* RH and LH are played on I Stand All Amazed 193
different manuals. Simplified for organ in three parts
Thoughtfully q = 66-84 Arranged by Shinji Inagi

bb b b 3 2
œ˙ . œ œ œ˙ . œ œœ . œ œœ ..
5

& 4 œœ
5

œ
2 3 2 4 3 2

œœ
1 2 3 3

œœ œœ
3 3 4 5 3 2
1.I stand all a - mazed at the love Je - sus of - fers me,
2.I mar - vel that he would de - scend from his throne di - vine
3.I think of his hands pierced and bleed - ing to pay the debt!

? b b b 43 Œ œ œ.
b ˙. ˙. ˙.

b
& b bb j œ œ
5 5 4

œ˙ œ œ œ˙ . œ œ
3 2 4 4

œœ . n œ b œœ .
2 2 1 3 3 1 2

œœ œ˙ . œ .
2J 4 2 3
Con - fused at the grace that so ful - ly he prof - fers me.
To res - cue a soul so re - bel - lious and pround as mine,
Such mer - cy, such love, and de - vo - tion can I for - get?

? bb ‰ ˙. ˙. ˙.
bb œ œ.

b
& b bb j .
œœ .. œœ œœ .
5

œœ œ˙ . œ œ˙ . œ œ
10 5 5 3 4
2 3

œ
2 2 1 2 3 2

œœ œœ œœ
3J 3 3 2 1 2
5 4
I trem - ble to know that for me he was cru - ci - filed,
That he should ex - tend his great love un - to such as I,
No, no, I will praise and a - dore at the mer - cy seat,

? bb b ‰ œ œ.
b ˙. ˙. ˙.

j 3 n œ5 4
bbbb œœ œœ œ œœ œœ œœ
n œœ œœ œœ œœ
3

œœ .. n œœ b ˙˙
15 5 4

&
1 2 3 3 2 1 2

3J 1 2 5 4 3 2 1 2 3 4 5
That for me, a sin - ner, he suf - fered, he bled and died.
Suf - fi - cient to own, to re - deem, and to jus - ti - fy.
Un - til at the glo - ri - fied throne I kneel at his feet.

? bb ‰ ˙. ˙.
bb ˙. ˙.
 I Stand All Amazed

b
& b b b œ˙ œ œ. œ
5

œ œ œœ
4 4 4

œ œ œ œœ .. œœ
20 5 3 3 3 2 4 3

œœ œœ œœ
2

œ œ. œ œ œ œ œ 3 1
3 5 3 4 5 2 2 3
4

Oh, it is won - der - ful that he should care for me E - nough to

? bb ˙.
b b ˙. ˙.

bbbb œ œ œ
˙œ ..
œ ˙ œ. œ œ
5 4 3 3 4 5 4 3

˙.
23 2

& œœ
2 3

œœ .. œœ ˙˙ œ
1 2

œ œ œ œ ˙.
4 5 1 1
3 4 5 2 3 4

die for me! Oh, it is won - derful,

- won - derful
- to me!

? bb b œ ˙ œ ˙
b ˙. ˙. ˙.
 Christ the Lord Is Risen Today 200
Simplified for organ in four parts
With exultation q» 96-108 Arranged by Jane Dye
} } 42
& 44
5 3 3 5

œœ œ˙ œ œ˙ œ œœ . œ œ œ œœ œ œœ œ œœ œœ ˙
1 3 2 1 1 2 2

œ˙ œ œ
J
1.Christ the Lord is ris'n to - day,
2.Love's re deem ing work is done, Al le lu ia!

œ . œj ˙
3.Lives a gain our glo rious King,

? 44 œ˙ œ ˙ ˙ œ˙ œ œ œ œ œ
1 1

˙
2

˙
3 2 4

œ œ w ˙
3 4 3 4 3 3

œ
5

& œ˙ œ œ œœ . œ œ œ œœ œ œœ œ œœ œœ ˙
4 5 2 5

œœ œœ œœ
1 2 2 2 1 1

˙ œ œœ
J
Sons of men and an - gels say,
Fought the fight, the vic t'ry won, Al le lu ia!

j
Where, O death, is now thy sting?

? œ œ œ œ œ œ ˙ œ œ œ œ œ. œ ˙˙
3 1 1
4 2 4

œ œ œ ˙
œ œ œ w ˙

˙
5

& œœ . œ # œ œœ œœ n œ œœ œœ . œ œ œ œœ # œ œœ œ œœ # œœ ˙
3 1 4

œ
3 5 5 4 5 4 5 4 3
9 4 1 1

˙
2 1 2 1
1 2 1 3 1 1 2

œ
1

J J
Raise your joys and tri - umphs high,

j
Je sus' ag o ny is o'er, Al le lu ia!

œ. j œ ˙ œ.
œ ˙ œ˙
Once he died our souls to save,

œ ˙ œ
1 1

? œ
3

˙ w ˙
5

w ˙ ˙
}52 5 4 5 3 4 5 4 5

œ œœ œ œœ œ œ œ œ œ œ œœ œ œ œœ ˙
1 1 2 1 2 1 2 4 5 4 5
2

œ˙ œ œœ
13

&œ œœ
4

œœœœœ œ œ œ˙
1 2 1 2 1 2

œ
Sing ye heav'ns, and earth re - ply,
Dark ness veils the earth no more, Al le lu ia!

œ ˙ ˙ ˙
Where thy vic to ry, O grave?

?œ ˙ œ œœ ˙ ˙˙
3 1

œ œ œ ˙
3

œ œ œ w ˙
 Joy to the World 201
Simplified for organ in three parts
Jubilantly q»76 - 96
# # 2 œ5 j
Arranged by Jane Dye

œ. œ œ. j œ œ. œ
& 4 œ œ
3 2 2

œ
4 1 3

œ. J
1.Joy to the world, the Lord is come; Let earth re -
2.Re - joice! Re - joice when Je - sus reigns, And Saints their

j
3.No more will sin and sor - row grow, Nor thorns in -
4.Re - joice! Re - joice in the Most High, While Is - rael

? # # 42 œ˙ œ. œ œœ .. œ œ œ œ ˙˙ ˙
1 1 2
3 3

œ ˙ ˙
J
# # œ4 . œ ˙ œ. œ5 œ œ œ œ œ
œ.
6

& œ œ
3

J J
ceive her King! Let ev - 'ry heart pre -
songs em - ploy, While fields and floods, rocks,
fest the ground; He'll come and make the

j 4 j
spreads a - broad Like stars that glit - - - ter

œ ˙˙ œœ .. œ‰ œ˙ œ œ œ ˙œ .
1

? ## œ . œ œ œ
3 3 3
5

## œ œ
œ œ œ. œ œ œ œ œ œ œ œ œ.
11

& œ œ œ œ œ œ œ
3 2 3

pare him room, And Saints and an - gels sing, And Saints and an - gels
hills, and plains Re - peat the sound-ing joy, Re - peat the sound - ing
bless - ings flow Far as the curse was found, Far as the curse was
in the sky, And ev - er wor - ship God, And ev - er wor - ship

? # # œ˙ œ œ œ ˙œ . œ œ œ œ œ œ œ œ œœ . œ œ œœ œ œœ . œ œ œœ œ
3 3
4 2

Œ ‰ J J
## œ
œ. œ œ œj œ œ.
16

& œ œ œ
4

œ
3 3

œ
3

J ˙
sing, And Saints, and Saints and an - gels sing.
joy, Re - peat, re - peat the sound - ing joy.
found, Far as, far as the curse was found.

j
God, And ev - er and ev - - er wor - ship God.

? ## œ . œ œ œ˙ . œ œœ .. œ œ œ œ œ œ ˙˙
1
3

œ œ œ œ œ ˙
J
 We Love Thy House, O God 247
Simplified for organ in four parts

Reverently q = 72-88 Arranged by Shinji Inagi and Don Cook

&c œ˙ œ œ œ
œw œ œ œ ˙˙ .
4

œ
5 5 3

œœ ˙˙ ..
1 4 2 3 2 2

œ
2 3 1 2

œ œ . Œ 1 1 2 3

1.We love thy house, O God, Where - in thine hon - or dwells.

2.It is the house of prayer, Where - in thy ser - vants meet,

œ œ œ˙
3.We love the word of life, The word that tells of peace,

? c œœ œ œ˙ œ ˙˙ œ˙ œ ˙˙ .
3 3

˙˙ .. œ
5 4 5 5
3

.
5 4 5

œœ œ˙ œ
4 5

˙˙ .
4 5 4 3

œœ
1 3

& œœ œ œœ œœ œœ œ œ œ
3 3

.
1 2 1 2 1 2 3 1 2

1 œ œ œ ˙.
2
The joy of thine a - bode All earth - ly joy ex - cels.
And thou, O Lord, art there, Thy cho - sen flock to greet.

œ b 3œ œœ1 œ˙ œ3
Of com - fort in the strife, Of joys that nev - er cease.

? œœ ˙w ˙˙ .. œ œ œ
3

˙˙ ..
4 4
5
5

Original music by Leroy J. Robertson, 1896-1971. © 1948 LDS.

This arrangement © 2007 by Brigham Young University.
Used by permission.
 The Iron Rod 274
Simplified for organ in three parts

Boldly q = 80-96 Arranged by Shinji Inagi

#
& # 43 œ. œ œ œ œ œ ˙ œ œ œ œ
4 4

œ ˙
1

œ
1.To Ne - phi, seer of old - en time, A vi - sion came from God,
2.While on our jour - ney here be - low, Be - neath temp - ta - tion's pow'r,

œ ˙
3.And when temp - ta - tion's pow'r is nigh, Our path - way cloud - ed o'er,

? ## 3 œœ ˙œ .. œ œ œ ˙˙ œœ œ œ œ
2 1 1

œ œ
1

˙
5

4
4

˙ œ

## œ. œ œ œ œ œ ˙ œ œ œ œ œ Œ c
5

& œ
2
5 4

˙
2 1

Where - in the ho - ly word sub - lime Was shown an i - ron rod.

Through mists of dark - ness we must go, In per - il ev - 'ry hour.

˙˙ Œ c
Up - on the rod we can re - ly, And heav - en's aid im - plore.

? ## œœ œ. œ œ œ œ œ ˙˙ œœ œ œ œ œ
4 2
4 4 4

˙ œ ˙ œ Œ
## c 4 2 œ j œ5 œ
& œ œ. œ œ . œ œ œ œ œ. œ œ œ ˙.
5 1 2 4

J
2

Hold to the rod, the i - ron rod; 'Tis strong, and bright, and true.

j 2 j œ
? # # c œ˙ œ . œ œ˙ . œ œ œ œ œ œ˙. œ œ œ œ ˙˙ ..
2 1 1

˙
2 4 5 4 2 2 1 2

˙ ˙

## œ œ œ . œ
4

œ œ œ œ œ œ œ œ œ œ œ œ œ
1

&
1 2 1 2 4
5 4 1

J ˙.
1

The i - ron rod is the word of God; 'Twill safe - ly guide us through.

j
? # # œœ œœ œœ œ˙ œ œ œ œ œ œ˙ . œ œ œ œ œ ˙˙ ..
1 2 4 4 2 1 2
5

˙ ˙ ˙
 O My Father 292
Simplified for organ in four parts

Fervently q = 42-56 Arranged by Shinji Inagi

# 3 j
3 4 5 5 4 3 1 2 4 5

œ. œ
1 4

œ œ œ œ œ œ œ œœ œœ œœ œœ
3 1

& 4 œ
3 1 3

œ œ 2œ 1
œ œ 1
œ 2 œ 1œ œ œ. œ
3
1.O my Fa - ther, thou that dwell - est In the high and
2.For a wise and glo - rious pur - pose Thou hast placed me
3.I had learned to call thee Fa - ther, Thru thy Spir - it
4.When I leave this frail ex - is - tense, When I lay this

? # 43 œ ˙. ˙˙ .. ˙˙
5 1
(5)-4 5

œ ˙.
4

# œ œ
4 1 3
4

˙ œ œ œ œ œ
3

œ œ œ œœ œœ
1 5 3

&
3 1

œ œ œ ˙ œœ œ 2œ 1
œ œ œ 2œ œ
3 1
glo - rious place, when shall I re - gain thy pres - ence
here on earth And with - held the rec - ol - lec - tion
from on high, But, un - til the key of knowl - edge
mor - tal by, Fa - ther, Moth - er, may I meet you

? # œœ œ œ ˙ œ ˙.
3

˙˙
1 2 5 5
2 3 5-4

˙. ˙.

# j j
3 2 3 4 5
2

œ. œ
1 4

œ œœ
3

œœ . œœ œœ
1

& œ œœ œœ œœ œœ ˙˙ œ
3 3

œ.
1 1

œ
3

. œ 2
œ 1
3
And a - gain be - hold thy face? In thy ho - ly
Of my for - mer friends and birth; Yet oft - times a
Was re - stored, I knew not why. In the heav'ns are
In your roy - al courts on high? Then, at length, when

˙ œ
? # œœ œ œ œ œ ˙
3

œ ˙˙
3 1 2

˙.
5
5 3 2

˙.
 O My Father

# j
1 2 5 1 3 5 3 4
4 4 2

œ œ œ œ œœ . œœ œœ œ œœ ˙ œ œœ œœ
3 1 5

& œœ 1œœ œ œ œœ œ
3 3 3

2
œ œ . œ ˙ œ2 1
2 3
hab - i - ta - tion, Did my spir - it once re - side? In my
se - cret some - thing Whis - pered, "You're a strang - er here," And I
par - ents sin - gle? No, the thought makes rea - son stare! Truth is
I've com - plet - ed All you sent me forth to do, With your

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first pri - me - val child - hood, Was I nur - tured near thy side?
felt that I had wan - dered From a more ex - alt - ed sphere.
rea - son; truth e - ter - nal Tells me I've a moth - er there.

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mu - tual ap - pro - ba - tion Let me come and dwell with you.

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 Love at Home 294
Simplified for organ in three parts
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1.There is beau - ty all a - round When there's love at home;
2.In the cot - tage there is joy When there's love at home;

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3.Kind - ly heav - en smiles a - bove When there's love at home;

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There is joy in ev - 'ry sound When there's love at home.
Hate and en - vy ne'er an - noy When there's love at home.

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All the world is filled with love When there's love at home.

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Peace and plen - ty here a -bide, Smil - ing sweet on ev - 'ry side.
Ros - es bloom be - neath ourfeet; All the earth's a gar - den sweet,

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Sweet - er sings the brook - let by; Bright - er beams the az - ure sky.

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Time doth soft - ly, sweet - ly glide When there's love at home.
Mak - ing life a bliss com-plete When there's love at home.

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Oh, there's One who smiles on high When there's love at home.

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 Love at Home

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Love at home, love at home;
Love at home, love at home;
Love at home, love at home;

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Time doth soft - ly, sweet - ly glide When there's love at home.
Mak - ing life a bliss com -plete When there's love at home.

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Oh, there's One who smiles on high When there's love at home.

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