The Temple Organist
The Temple Organist
Embedded Files
Organ Music in Temples
Organ Music in Temples
From the Temple President's Handbook
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 should call an organ coordinator. They may also call an assistant organ coordinator if needed.
The organ coordinator should be a qualified and respected organist in the community who is proficient in their understanding of the organ console, organ registration (choosing organ stops) and accomplished in playing with smooth legato technique and accurate notes and rhythms. 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.
Organists should play in a smooth legato style, accurately execute notes and rhythms, and use varied but appropriate registrations.
The tempo of a piece should be played as written. 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 standard is for all expression pedals to be fully closed. The crescendo pedal, if it is present, should not be used and should be left in the closed position at all times. 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
Pianists will find that playing the organ is different from playing the piano and should become thoroughly familiar with the organ by learning about the components of the organ console and how to use them, the basics of organ registration (choosing organ stops), legato technique, and note and rhythm accuracy before they are scheduled to play.
Organists should be sufficiently accomplished in playing with smooth legato technique, accurate notes and rhythms, and varied yet appropriate registration, fostering a spirit of reverence and worship. Playing that is inaccurate, choppy, too loud, too fast, lacks registrational variety, or fails to follow the notes as written in the hymnbook can be distracting. It would be better not to have music playing than to distract patrons with undesirable playing.
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, use flutes, strings, and hybrids. Registrations should be simple, with usually no more than one-to-three stops per division. Always have light 16’ and 8’ stops in the pedal. The following combinations have proven useful:
A single 8’ flute, string, or hybrid.
An 8’ string paired with its celeste companion.
Flutes 8’ and 4’.
An 8’ flute paired with an 8’ string or hybrid that is not a celeste.
Reserve the 8’ principal or soft imitative reeds (such as the English horn, Oboe, or Cromorne) for soloing out melodic lines on another manual.
Avoid using 4’ and 2’ principals and mixtures, as they are too bright for the temple setting.
Avoid pedal reeds, principals, and mixtures.
Avoid loud reeds such as trumpets, bombards, posaunes, or tubas.
Variety in registration is desirable. Organists should vary their registration for each verse and for each hymn they play. The melody can occasionally be played on one manual with a solo stop or combination. In contrast, play the accompanying voices on the other manual with softer stops, such as an 8’ flute or 8’ string paired with its celeste companion. The tremulant may be used with any solo stop or combination when the melody line is soloed out on another manual.
The use of the “chimes” and other percussion stops is not permitted in the temple.
For further guidance on organ playing and registration in the temple, refer to “Playing the Organ in the Temple” and “Registration for Temple Worship" provided below.
Hymns Approved for the Temple
Hymns Approved for the Temple
From the Temple President's Handbook
D major
Medium Easy - 16
14 - Sweet Is the Peace the Gospel Brings
G major
Medium Difficult - 18
D major
Medium Easy - 14
24 - God Bless Our Prophet Dear
D major
Medium Difficult - 18
26 - Joseph Smith's First Prayer
Bb major
Medium Easy - 17
29 - A Poor Wayfaring Man of Grief
Ab major
Medium Easy - 16
45 - Lead, Me into Life Eternal
G major
Medium Easy - 16
G major
Medium Easy - 17
96 - Dearest Children, God Is Near You
Bb major
Medium Easy - 16
G major
Medium Easy - 16
G major
Medium Difficult - 18
99 - Nearer, Dear Savior, to Thee
Eb major
Medium Easy - 17
F major
Medium Easy - 16
Eb major
Medium Easy - 16
C major
Easy - 13
103 - Precious Savior, Dear Redeemer
Eb major
Medium Difficult - 18
Bb major
Medium Easy - 14
G major
Medium Easy - 16
109 - The Lord My Pasture Will Prepare
C major
Easy - 12
112 - Savior, Redeemer of My Soul
D major
Medium Difficult - 20
D major
Medium Difficult - 18
C major
Medium Easy - 17
Bb major
Medium Easy - 16
119 - Come, We That Love the Lord
F major
Medium Easy - 15
D major
Medium Difficult - 22
123 - Oh, May My Soul Commune with Thee
C major
Medium Difficult - 21
125 - How Gentle God’s Commands
F major
Easy - 13
129 - Where Can I Turn for Peace?
D major
Medium Easy - 17
C major
Medium Difficult - 18
D major
Medium Difficult - 19
G major
Medium Easy - 17
D major
Difficult - 24
G major
Medium Difficult - 21
136 - I Know That My Redeemer Lives
G major
Medium Easy - 17
D major
Medium Difficult - 18
Eb major
Medium Difficult - 18
141 - Jesus, the Very Thought of Thee
G major
Medium Difficult - 19
C major
Medium Easy - 14
143 - Let the Holy Spirit Guide
G major
Medium Difficult - 18
D major
Medium Difficult - 21
145 - Prayer Is the Soul’s Sincere Desire
D major
Medium Difficult - 18
146 - Gently Raise the Sacred Strain
G major
Medium Difficult - 21
G major
Medium Difficult - 19
149 - As the Dew from Heaven Distilling
Bb major
Medium Easy - 16
165 - Abide with Me; ‘Tis Eventide
Eb major
Medium Easy - 15
Eb major
Medium Difficult - 19
169 - As Now We Take the Sacrament
Eb major
Difficult - 26
170 - God, Our Father, Hear Us Pray
G major
Medium Easy - 14
Eb major
Medium Difficult - 21
F major
Medium Easy - 17
173, 174 - While of These Emblems We Partake
C major and Eb major
Medium Difficult - 18
175 - O God, the Eternal Father
D major
Medium Difficult - 22
176, 177 - ‘Tis Sweet to Sing the Matchless Love
C major and Eb major
Medium Difficult - 22
179 - Again, Our Redeeming Lord
Eb major
Medium Difficult - 20
180 - Father in Heaven, We Do Believe
Eb major
Medium Difficult - 18
Bb major
Medium Difficult - 18
182 - We’ll Sing All Hail to Jesus’ Name
Bb major
Medium Easy - 16
183 - In Remembrance of Thy Suffering
C major
Medium Easy - 17
184 - Upon the Cross of Calvary
G major
Medium Easy - 15
187 - God Loved Us, So He Sent His Son
Bb major
Medium Difficult - 21
190 - In Memory of the Crucified
D major
Medium Easy - 16
191 - Behold the Great Redeemer Die
Bb major
Medium Easy - 16
192 - He Died! The Great Redeemer Died
C major
Medium Easy - 14
Ab major
Difficult - 23
194 - There Is a Green Hill Far Away
Eb major
Medium Difficult - 19
195 - How Great the Wisdom and the Love
F major
Medium Easy - 16
196 - Jesus, Once of Humble Birth
D major
Medium Easy - 17
220 - Lord, I Would Follow Thee
D major
Difficult - 25
221 - Dear to the Heart of the Shepherd
G major
Medium Easy - 16
247 - We Love Thy House, O God
C major
Medium Easy - 14
277 - As I Search the Holy Scriptures
Bb major
Medium Difficult - 18
281 - Help Me Teach with Inspiration
D major
Medium Difficult - 19
287 - Rise, Ye Saints, and Temples Enter
D major
Medium Difficult - 22
288 - How Beautiful Thy Temples, Lord
D major
Medium Easy - 17
G major
Easy - 12
G major
Medium Difficult - 18
293 - Each Life That Touches Ours for Good
Eb major
Medium Difficult - 22
295 - O Love That Glorifies the Son
D major
Medium Difficult - 20
298 - Home Can Be a Heaven on Earth
D major
Medium Difficult - 19
300 - Families Can Be Together Forever
F major
Medium Difficult - 21
D major
Medium Difficult - 20
C major
Easy - 8
304 - Teach Me to Walk in the Light
D major
Medium Difficult - 20
Eb major
Difficult - 25
G major
Medium Easy - 15
Children's Songs Approved for the Temple
Children's Songs Approved for the Temple
From the Temple President's Handbook
G major
Medium Easy
18 - I Need My Heavenly Father
F major
Medium Easy
C major
Medium Easy
29 - Father, I Will Reverent Be
D major
Medium Easy
G major
Medium Easy
56 - I Think When I Read That Sweet Story
G major
Medium Difficult
D major
Medium Difficult
F major
Medium Difficult
F major
Medium Easy
92 - The Hearts of the Children
F major
Medium Easy
F major
Medium Easy
F major
Difficult
153 - The Lord Gave Me a Temple
D major
Medium Easy
Christmas Hymns Approved for the Temple
Christmas Hymns Approved for the Temple
From the Temple President's Handbook
Bb major
Easy - 13
205 - Once in Royal David’s City
F major
Medium Difficult - 18
F major
Medium Easy - 16
207 - It Came Upon a Midnight Clear
Bb major
Medium Difficult - 18
208 - O Little Town of Bethlehem
F major
Medium Difficult - 22
G major
Medium Easy - 16
D major
Medium Difficult - 18
Temple Organist Assessment Process
Temple Organist Assessment Process
Purpose
Purpose
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.
Candidate Preparation
Formal Organ Training
If the candidate has had little or no formal organ training, they are encouraged to use the organ training course to help them enhance their skills by following the guidelines outlined in the "How to Use This Resource" section on the homepage. After finishing the online course, they are encouraged to begin working through "Hymn Studies for Organists."
Understanding the Organ
Before their scheduled assessment, the candidate is encouraged to do their best to understand the material from the following lessons of the organ training course, focusing 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. (see "Registration for Temple Worship" below for ideas.)
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 encourage 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)
Temple Organist Assessment
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
The candidate’s desire to serve as a temple organist.
The direction on organ music in temples from the temple president’s handbook.
Organ Background
The candidate’s experience with organ playing.
The difference between the piano and the organ.
Legato technique and how to achieve it on the organ.
The importance of continuing to develop your skills as an organist and learn new things.
The Organ Console
The names of each keyboard or manual.
The stops and how they work.
General thumb pistons
Divisional thumb pistons
The expression pedals
The crescendo pedal
Toe studs
The general cancel piston
The importance of organ shoes when playing pedals. (available at organmastershoes.com)
Proper position at the organ console
Organ Registration (the art of choosing organ stops)
The numbers on the stops and what they mean.
Mutation stops and how they should be used.
Mixture stops and how they should be used.
The five families of organ tone.
Celeste stops and how they should be used.
Couplers
Varied and appropriate types of registration that can be used for temple worship.
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.
Playing the Organ in the Temple
Playing the Organ in the Temple
Temple organists are encouraged to continually develop, refine, and apply the following skills in their playing to enhance the worship experience for temple patrons.
Temple organists are encouraged to continually develop, refine, and apply the following skills in their playing to enhance the worship experience for temple patrons.
BOTH HANDS ON THE SAME MANUAL
Registration: When both hands play on the same manual, use combinations from the “Chorus Registration” and “Pedal Balance” sections of the “Registration For Temple Worship.” Be sure that the volume level is appropriate for the situation.
A SINGLE VERSE
Play the hymn as written, in the normal arrangement: the two hands play soprano, alto, and tenor on either the Swell or the Great, and the feet play the bass. This is the simplest approach.
MORE THAN ONE VERSE
Play the hymn as written, in the normal arrangement (described above), now changing the registration between verses. While simple to play, the change of registration offers variety.
HANDS ON DIFFERENT MANUALS
Registration: When soloing out either the tenor or soprano part, try combinations described in the “Solo and Accompaniment Registration” and “Pedal Balance” sections of the “Registration For Temple Worship.” Nearly any good stop or combination could serve as the solo, provided that it is more prominent than the accompaniment. Be sure that the overall volume level is appropriate for the situation.
TENOR SOLO
Play the hymn as written, but solo out the tenor part on its own manual. RH plays soprano and alto on one manual, and LH plays the tenor solo on another. The LH solo may play one octave higher. Tenor solo is nearly identical to the normal arrangement, except that the hands play on different manuals, and LH plays tenor only (no alto notes).
SOPRANO SOLO
Play the hymn as written, but solo out the soprano part on its own manual. LH plays alto and tenor on one manual, and RH plays the soprano solo on another. The RH solo may play one octave lower. Soprano solo is challenging because the LH plays notes that are written on both treble and bass staves – alto on the treble staff, and tenor on the bass staff. It is worth learning, however, as it is one of the most useful and effective “creative” hymn playing techniques of all.
PARTS ENTER ONE AT A TIME
Registration: Same as “Both Hands on the Same Manual” above.
Both hands play on the same manual. For the first quarter of the hymn, play soprano only. For the second quarter, add the alto. For the third quarter, add the tenor. For the fourth quarter, add the bass (in the manual or the Pedal). As an alternative, start with any actively moving part, adding parts one at a time in an order of your choosing.
BEGIN WITHOUT SOPRANO
Registration: Same as “Both Hands on the Same Manual” above.
Both hands play on the same manual. For the first half of the hymn, play all but the soprano. For the second half, add the soprano.
COMBINE THESE APPROACHES THROUGH TWO OR MORE VERSES
Registration: Same as “Both Hands on the Same Manual” above, or “Hands on Different Manuals,” depending on the situation. Create a registrational plan, save it to presets, and write it down (in pencil).
Inspiring and beautiful music lasting several minutes can be created by tastefully combining two or more of the approaches described above. Some examples follow.
Hymn 109, The Lord My Pasture Will Prepare.
Registration: Sw: String 8', String Celeste 8'; Gt: Principal 8' +trem; Ped: soft 16' 8'.
Verse 1: Parts enter one at a time on Sw (soprano meas.1-8, alto m. 9-16, tenor meas. 17-20, bass meas. 21-26).
Verse 2: Soprano solo on Gt, moving down an octave at pickup to m. 17.
Hymn 170, God, Our Father, Hear Us Pray
Registration: Sw: String 8’, String Celeste 8'; Gt: foundations 8'; Ped: soft 16', Sw/Pd.
Verse 1: Begin without soprano and bass (play alto and tenor only), m. 1-8
m.8 on “day,” insert alto passing tone C.
m.9 add bass.
m.11 on “em-“ insert tenor passing tone G.
m.12 on “blest” insert bass passing tone D.
m.13 add soprano part.
Verse 2: Tenor solo on Gt, moving up an octave at m.9, and ending on G instead of D.
Registration For Temple Worship
Registration For Temple Worship
First identify these important characteristics in the music. If these are not indicated in the score, make the decision yourself:
MOOD: What words 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.)
VOLUME: Overall volume level (very soft, soft, medium, etc.)
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.
The following list begins with the softer stops or combinations, which are usually most effective in enhancing the spirit of worship:
A soft 8' stop alone – flute, hybrid, or string
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')
Two soft 8' stops – flute and hybrid, flute and string
Flutes 8' and 4'
Two soft 8' stops and flute 4'
Principal 8' alone
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:
A single Claribel or harmonic flute 8’
Flutes 8' and 2' – a “gap” combination
Combinations of the 8' flute and other stops from the Cornet (pronounced “cor-NAY”):
Flutes 8' and 2 2/3' (an especially effective soft solo combination)
Flutes 8', 4', and 2 2/3'
Flutes 8', 2 2/3', and 1 3/5' (“Sesquialtera”)
Flutes 8’, 4’, 2 2/3', and 1 3/5'
Flutes 8', 4', 2 2/3', 2', and 1 3/5' (the full Cornet)
String 8' (may sound like a soft reed)
Flute 4'
Soft reed 8' (Oboe, Cromorne, Clarinet, French Horn, English horn, Schalmei)
Soft reed 8' “rounded out” with other mild 8' and 4' stops (flutes, hybrids, strings)
All the 8’ stops on the Great that blend, possibly including the Swell to Great coupler (a very warm, “singing” solo combination)
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.
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