The Temple Organist

In temples that have an organ or its digital equivalent, temple presidencies are encouraged to consider having live organists serve in the temple to assist patrons as they prepare for the sacred ordinances of the House of the Lord.

Organ music in temples should generate a spirit of reverence, meditation, and worship. It should assist patrons in leaving behind worldly cares and concerns and encourage them to focus their thoughts on the Savior, His sacrifice, their relationship to Him, and the purpose for which they have come to the temple.

This music should not call undue attention to itself but should leave patrons’ thoughts and feelings free for prayer and introspection. Volume, registration, tempo, and selection of music should encourage a thoughtful, gentle mood with careful attention to graceful transitions from one hymn to another.

The Temple Organ Coordinator 

To effectively appoint, coordinate, and supervise live organists, temple presidencies may appoint an organ coordinator and, if needed, an assistant organ coordinator.  

The organ coordinator should be an experienced organist who understands the organ console, organ registration (choosing organ stops), and smooth legato playing. The organ coordinator should be able to assess the skills of organists to serve in the temple according to these standards.

Presentation of the Music

Organists should play only hymns and children’s songs from the list of Approved Hymns for the Temple. These should be performed as printed in Hymns of The Church of Jesus Christ of Latter-day Saints and the Children’s Songbook. They should be played in legato style and with appropriate registrations.

Each hymn should generally be played at a tempo consistent with its character. Though some hymns may need to be modified to a more thoughtful speed, they should not drag.

Organists should use the expression pedals discreetly, without constantly shifting the volume. The crescendo pedal, if it is present, should not be used. Organists should use the pedalboard only if they can play the pedals accurately and in legato style.

Organists should create graceful, smooth transitions between hymns by allowing brief pauses between pieces to encourage quiet reverence.

Playing in the temple is not a time to present recitals or to sight-read through an unrehearsed selection of hymns.

Musical and Spiritual Preparation

Organists should be sufficiently accomplished in smooth legato playing and accurate note and rhythm execution so that they can play in a manner that invites a spirit of reverence, meditation, and worship. Playing that is choppy, inaccurate, excessively loud, overly rapid, or otherwise distracting detracts from the temple experience.

Pianists will find that playing the organ is different from playing the piano. Before they are scheduled to play, they should become thoroughly familiar with the organ by learning the components of the organ console and how to use them, the basics of organ registration (choosing organ stops), smooth legato technique, and accurate note and rhythm execution.

Organists should always seek the guidance of the Spirit in their choice of music. There is great value in having organists who can be inspired to play the right hymn at the right time to meet the needs of a patron.

The Organ Console and Organ Registration 

Organists should understand the components of the organ console, how to use them, and the basics of organ registration (choosing organ stops). Using and combining stops without understanding them can be distracting.

For temple organ registration, organists should use softer stops and combinations. Registrations should be simple and balanced and avoid excessive volume or brightness. The use of flutes, strings, or hybrids at the 8-foot and 4-foot pitch levels is generally best.

Variety in registration is desirable. Organists should vary their registration from hymn to hymn and, when appropriate, between verses. The melody may occasionally be played on one manual with a contrasting solo registration while accompanying voices are played on another manual with softer stops. The tremulant may be used sparingly when it contributes to a thoughtful and worshipful mood. The use of percussion stops such as the “chimes” are not permitted in the temple.

The temple organist assessment process is designed to help candidates align their organ playing with the expectations outlined in the Temple President’s Handbook for organ music in temples. By preparing thoughtfully, demonstrating their knowledge, and learning, they will be ready to serve as a temple organist.

Formal Organ Training

If the candidate has had little or no formal organ training, they are encouraged to use the organ training course according to the instructions given in "how to use this resource" on the home page to help them enhance their skills.

Understanding the Organ

Before their scheduled assessment, the candidate is encouraged to do their best to understand the material from the following lessons of organ training course on "the organ console" and "choosing organ stops." They should also bring any questions they may have to their scheduled assessment. All temple organists need to understand the components of the organ console and the basics of choosing organ stops.

The candidate is also encouraged to watch and understand all the training videos about the features and functions of the Johannus WM-47 LDS organ, which is the model of organ found in most temples.

Organ Playing Preparation

The candidate is encouraged to do their best to come prepared with six hymns they can play for the temple organ coordinator from the temple-approved hymns and/or children’s songs. Organists will need to put together their own white binders of music to play from. Hymns should be played in legato style with minimal-to-no mistakes and should demonstrate variety in registration appropriate for temple worship.

Preparation Guidelines:

• Hymns should be prepared to be played according to temple guidelines.

• Prepare to play at least two verses of each hymn and try using a different stop or combination of stops for each verse to achieve variety.

• Choices of stops should follow temple guidelines.

• Practice graceful and smooth transitions between hymns by using brief spaces of silence between hymns (and between verses) to encourage quiet reverence.

• Pedals may be used if they can be played accurately and in legato style. If pedals are not used, candidates are encouraged to play from Manual Only Hymns for Organ.

• If pedals are used, organ shoes are strongly recommended. White organ shoes are required for the temple. (available at organmastershoes.com)

If needed, the candidate will be given preparation time at the organ before the assessment begins.

Part 1: Discussion

The temple organ coordinator will begin the assessment by discussing with the candidate the following topics below about spiritual readiness, understanding of the organ, and organ-playing technique.

Spiritual Readiness

1. The candidate’s desire to serve as a temple organist.

2. The direction on organ music in temples from the temple president’s handbook.

Organ Background

1. The candidate’s experience with organ playing.

2. The difference between the piano and the organ.

3. Legato technique and how to achieve it on the organ.

4. The importance of continuing to develop your skills as an organist and learn new things.

The Organ Console

1. The names of each keyboard or manual.

2. The stops and how they work.

3. The expression pedals

4. The crescendo pedal

5. General thumb pistons

6. Divisional thumb pistons

7. Toe studs

8. The general cancel piston

9. Proper position at the organ console

10. The importance of organ shoes when playing pedals. (available at organmastershoes.com)

Organ Registration (the art of choosing organ stops)

1. The numbers on the stops and what they mean.

2. The five families of organ tone.

3. Mutation stops and how they should be used.

4. Mixture stops and how they should be used.

5. Celeste stops and how they should be used.

6. The tremulant

7. Couplers

8. Varied and appropriate types of registration that can be used for temple worship.

9. Saving and recalling registrations on the organ.

Part 2: Playing in the Temple 

The candidate will play, for the temple organ coordinator, the six temple-approved hymns and/or children’s songs they have prepared in legato style, according to the preparation guidelines, as if they were playing in the temple.

At the Conclusion of the Assessment 

At the conclusion of the assessment, the candidate’s preparation and understanding will be reviewed to determine their readiness to be a temple organist. They may be asked to take a little more time to review, prepare, and practice what was taught/discussed during the assessment before playing in the temple.