CAREFULLY REVISED Penrace. rtoay Nos. 68 to 152.—Bxercises for the Pedals. os 33 tO 14 with Variations. PART 1 37 to 6p-—Thirty Preludes in all the ML PART 2, PART 9, Rinks Practival Organ Srhaol nay Hxercises in two pats. thee pats four parts ajor and Minor Keys, WITR THE GERMAN DIRECTIONS AND 1 ERMS TRANSLATED INTO ENGLISH nd the Pedal Part printed on a separate staff GW. C. Best. Bound in Cloth, price ras. or in Six Parts, 2s. Od. each, Twelve Chorals, or well-known German Psalm Tunes, Nos. 145 t0 459. —Fiteen Hasy Posthdes, or Conchading Voluntaties, in gue Style. Lospos + NOVE Op. 55, part 4 Nos. 160 to 174—Piteen Postludes, Concluding Vatuntaries, for alternate Manuals, in the Fugue Style bart Nos. 175 to 181.—Seyen Preludes an Boy No. 182.—The Flute Concerts vo 185.-—Variations on "ent Die tm Steges KAM," or God save the King.” PART 6 Now fy tw 192—Nine Prelustes and Pug e193 and t94—Fantasie and Fugue. LO AND COMPANY, LairPREFACE 1 nave been frequently requested by near and by distant friends, and other admirers of Organ Playing, to publish some more short and easy Organ Preludes for the use of that noble Instrument. Ip compliance with such wishes, I have produced the following Six Books of Organ Pieces, published uniter the collective title of a * Practical Organ School." Paxer I.—contains Twelve Short and Easy Piecos in two parts (Nos. 1 to 12), Twelve in three parts (Nos. 18 1024), and Twelve in four parts (Nos 25 to 86), as Introductory Exercises ‘The Pieces in three and four parts may be played without pedal; although I have in some places indicaved where a pedal may be used. ‘These are followed by Twenty-four Preludes in the twelve major and twelve minor keys, with Six in the lest usual keys, C2, Gb, Cb major, and G3, D4, and Ag minor (Nos. 87 to 66)—the whole calculated to be used belore the giving out of « Psalm-Tane oF Chorale. In the notes actually struck, there is really no difference between the major keys of Cf and Db, G> and F&, CP and B, or between the keys of G2 and A>, Dé and Fb, A¥ and Bp ; but 1 thought it better to introduce Preludes in these unconimion keys, in order that the Student iliarizea with their peculiarity In support of my recommendation of such Exercises, it may be enough to quote the opinion of my ever-dear master, the late Mr. Krrrn, Org Erfurt (the latest living pupil of Jonx Ssnasrtas Bact), who strongly advised practice in all the keys. ‘The same course of study is also enforced by the Father of all Organ Players, the great ons Ssnasttax Bact himself,"who, in his Forty-eight Preludes and Fugues (Bes €shliempesirin €labirs), hhas given two Preludes and two Fugues in each and every of the twelve major and twelve minor kevs. ‘An Organ Player should obtain such facility in mastering every key, as to overcome every dificulty, however presented. My many years’ experience as a teacher, his taught me, that students find most difficulty in becoming familiar with Solo Obbligato Playing + L would therefore strongly impress on the beginner, diligently to practise the Introductory Exercises (Nos. 1 to 86), and master them thoroughly before proceeding to the Preludes. His progress will then be regular, with marked improvement, and he will be saved from the discouragement of ‘encountering difficulties he is unable to overcome. ‘The Exercises and Preludes have been carefully constructed of pr ditiuley Par II.—eontains Pedal Exercises (Nos. 67 to 13%}, Twelve Chorales, or well-known German Psaim-Tunes, with Variations (Nos. 138 to 144) Pax 111.—eontains a Collection of easy Postludes, or concluding Voluntaries, in the Page style (Nos. 145 t0 168) Pater IV.—contains a Colleetion of similar Pieoos (Nos. 160 to 174), for more advanced Performers. Pawr V.—contains various Organ Pieces (Nos. 175 to 188), in the Free Style. Paver VE. (and last)—contains Miscellaneous Organ Picees, Grand Fugues, Preludes, and Variations, for accomplished Pexformers (Nos. 184 to 195). have been prevented from giving more than general directions for the proper stopa to be used by the diflerwnt magnitude of Organs, and by the Aisparity in their stops. I have expressed only sy stops or loud stops (by the latter I would indicate that the mixtures, cornet and sesquialtera, are still to be omitted), and Fad! Organ. If an Organ have two manuals (or rows of keys), the soft passages may be played on a Flute (of eight feet) or Diapason, Care should be taken not to hurry the time in any movement, and not to take the Tempo too fast. It is my earmest wish that this Organ School may be found « useful contribution to aid the prosress of students in Organ Playing. My frst intention was to have included in my plan, the theoretical part of Organ Playing but that has been abancloned, in fear lest the work should be made ‘oo voluminous, [may mention that the works which have preceded mine are,—~ Iirrren, Bee angehende packische Orgonat, 3 thsile (The commencing practical Organist, in three parts). Kivrewn@rge aehule, 3 shale (Organ School, in three parts). ‘Tonk —eatichign BAichen since rgmiten (The Important duties of an 0 Weneen age etuie (Organ School) ist), THE AUTHORBinks Practical Organ Dchool . PART I. EXERCISES IN TWO PARTS. Alla breve. <—s so _y Allegro. Allegro moderato. V3. Andante, Moderato. NOS.Moderate, Andante.Moderato. Andante. EXERCISES IN THREE PARTS. NP13; r Moderato. N° 14. i Andante. N15, Moderato. N° 16.Manuale- Pedale. N221. Manuale- Pedale.Andante quasi Allegretto. ee Ort Moderato. Andante.Andante. oo N27. | N28: Allegretto 229. - Vv? 60. (of28 Moderato, . : (b FLaT maton} , 7 (ey fModerato. (8 FLAT MINOR) N°? 62. © feeer~n _ >28 Andante, G FLAT MAJOR) N63. Moderato (e) — (E FLAT MINOR.) py N? 64. © fF —.—,30 Alla Breve (c FLAT MasoR) 65. eAndame. (A FLAT MINOR.) le 2 Gayl t Peha PART IT. Rink’s Practical Organ School. REMARKS By mistake. tbe exrretrs on Prdal playing were omitted in the First part of my practical Ongar School: they are ade therefore inthe Seca part. of.fow Binks on the we Sf these exe = cies may be Uetul sande or Betts Fie Hed K e ‘ Toot the Fist mance of wing the pedals, vie: with altetiaie fect inthe seater of Com 0 the Chromatic seal.” ND and st oatin the Second method of using he pedals, ia: alterna fect in organ playing aod are tberefere tobe osed bit eeldom, and witt eat cat ng the point of Phe foot, epmaris with the rightyand downwards with te left. By the us {sc howeversbert performed inthe Key of © major.) maybe played ya pevformat inthe Key of Gand F majors Ai thee exerreed ay be eanly transposed uy a bgianer into other hejsrbut he mut be ears a abe pve RCISES NT tn Oh ac veuns 9%, tavniyy TO yen en ty ty vite Raeig he4 TB, ee we TE ee Ts Egy wae gn g torte mitt gt aes Ti Shige WE agent, MOH ye ny She tn eee nen SH 85. 86. avene tie ee mane Tada h an 91. 292 Pat108 rT Ey a roe di. Ae LR Hz. fF - ff 9 a Ter oh as ia = — i Pata! yh ayy yee Leftfoot. Right fonts 132. ty ny 180. Rie op tL theh Tat fot icp fot Rigi foot Right fost. Augie foor : I Letaoo TWELVE CHORALES WITH VARIATIONS. cHoraLe,—“Sun sich der Cag geendet hat.” ~ W133. Pi ol # ME aprarion. nf 7 py SFIS: weeny x waa ano atancal,— rae nf 0) TegCHoraLe. “Stun ruben alle Walder.” (om) I ° No 134. Pi od ir! t ?SHVaR: wn . ~ Pre Sy end. Regd go88 CHORALE. “Sache dich mem Geist bereit.” (oy | r ean en ine SS ri we Ps 7 21 VaR: — vow nwo cuss — aa (a) Too ‘Qo (en) aa7 cHorALE. “ter nur den lichen Gott Lisst walter.” (on) , \ RA 1 a | = = Z gel eel cere woes? of TTT TT eit d pi pdeay ee FES i ; Ws ara st 7 nn Ear: a | q ion 2 7 tt 24 V4: vow ewe cusvinns, “Peay ‘Sempre staccato legato. oaCHORALE. “@@tie schin leucht uns dec Morgenstern” Po > 137. pr?W138. Pao” 2 dy) td oe eat ie oe eS 7 rt 77 Fr] 7bal Ae ‘ ey may RDA. ano HAMA a a yeCHORALE -“O Jesu Christ. meines Lebenslicht.” ~ > to ! ! a TSS re ! edt Sloe oF 3 $f> (sey No rp inten VAR.B. ran ro cusses ano peoas nasser otePlage tei stethyee he = eee,a! ae = ie = eS |Var. Metooy im rue Peoae a | || — S ' qe GP Pa CGT Sai —— SE ie, HZ = I es a pig eee Tea ee ey Tun 5. : : ) a4 4 | oF ex = ae eo St oP Toe Tt To T iF TF a yada ddd od a a se aS ani * : : ‘5; =o ; 1 } RD n Se ee ge ed 2 fay 2 ae 7tt Cees See iS : i ‘a ta (fl : 1 a ‘ a P th i a. Waa nd { ul I fs , i i ya wage ra if 1 i a na. Se a # 4 We it Xe 3 3] Wp il elCHORALE “Gir glauben all’an einen Gate.’ @) ma) (eyTang.JE 80 Fea, roy vu cuarienn ane rtout. atcoor im rae ret0e. — (ne metisteter eet te sttte® a i ppuatsletetet ete CEE Oo pee st petit otine ee per i ry *.2 cHorate -“Werv Hesu Christ dich ju uns tuend.” (ev), WS. r= ey Teg aod Veg r.1. (pit Set) af | — FTg. IN CANONtaf ERD #cHorALe ~“Diebster Fesu wir sind hier.” (en) T T T ee ee Part ars FT Fra. 2. vox nwo cuaviens. aw gous counrewvounrrand70 Bink’s Practical Organ Achool. PART II. FIFTEEN POSTLUDES, (oa conc.uoinc vo.untaries) IN THE FUGUE STYLE. Grave. (=) N? 145, Manuale. Moderato.ve Moderato: ee gModerato. (e) N! 147.76 Allegro. ga a a) gp gee NP 1L9. Sg Demy AP78 Maestoso. WV? 150:ws) TIN (a) : — Moderato. (o) NISL. fa}82 Moderato. a ve egAllegretto. eer 7 7 ! V2 153:(saModerate.Bia) Aaa ee 1 aia ane Tere e fPEt epg tte Moterat, EGEEm ee wai og + aaa ees88 VP 155. (ruts) = # Allegro Moderato.Adagio. Moderato. as . 'o4 N°158.96 Moderato.Seah eee ee ee Coote to i tes pas, eR Fo | | ce 2 si 4 ) tot Ai98 PART IV Rink'’s Practical Organ School. FIFTEEN POSTLUDES, (or conc.upine voruwraries) IN THE FUGUE STYLE. Adagio (ee) (se) + ! i a a 2 160,; foAllegro quasi Vivace, jan ~ f we), Alla Breve Rink’s Orvan School, Edited by WT. Best. Pert + 3030108104 Adagiv. Alla Breve. N?1620 a Andante. a SS N? 163. _ Alla Breve.108 Andante. Wael d im Alla Breve Andante. ——109 Grave.10 Moderato. for 1Largo. a N° 165.Ug Moderato. (oe _Piu Allegro, “ree ttModerato. foTN tee Moderato. Pa! fFMeestoso. ' No 167. fis)8Moderato (ct f__122 Moderato. mf123aoa Allegro Moderato (ey (end (or) (or) (ev) (or) (en) flpre tt 5 ¥? 170 Pp\ ()_ 7 (ce y (cr 7 ~! ey (ony ,Grave. tot.) M2171. f Moderato .Moderato . (at) (ow) W172: f129Maestoso (or) te132Moderato. hte RR Wo 174 (ean se)134Link's Organ School, Fdited by W.T. EEST. Part 4, 8030 7136PREFACE. J ene present to the friends of Organ playing the fifth part of my Organ School, and bey to olfer the Gliowing remark ‘The Tutti, as well as all Forte passayes in the Flute Concert shoatd be played on the Full Organ ;~-the Salo on a second manual, with the Flute sop of 8 fist onl, Shout dhe Organ not contain a Flute of 8 fet, the Gedackt§ feet may be nsed, or a Flato of 4 feet; but inthis ease the Soin passages must be played an octave lower, in order to produce 8 feet tone. Should the Organ contain $ manuals, the accompanying parts can be played on the third manual with a soft, bat quick-responding stop, For the pedal, the 1 feet bas isto be usod in the Solo passages In onder to produce a ervcenly <== on the Organ, | often avail myself of an advantage which may be gained by slowly pulling oat, during sustained note. another 8 feet Platetike stop (say Geedacke) aud at the decrescendo —=—=— slowly pushing it back: this may be done by another person. As (Corman) Ongans generally contain but 4 octaves, I have written all she sumbers of this fith part no higher than 1 think it necessary to make the followihig remavks, whieh I beg may not pass unnoticed :-the Flute Concerta, the Variations, and many other piecs in the Organ School, are not by any means intended to be played during Divine Service; they are Exercises, and serve principally to shew what, and how tnuch may be performed on the Organ, Whoever is anxious to obtain a cartain proficiency in Orgun-playing wast be acquainted vith these effects; therefore my Work would not be complete had I omitted these pioees, written in the free style. Those who desire to possess ful power over the grand tones of the Organ, destined to praise God, require great and varied practice. Our greatest Masters of Orgau-playing in tines, xuch as Vootin, Krrset, Kemcar, Viratsxe, and othors, far from despising such exercises, sought, on the contrary, to embel ¢ of art, an instrument, which, dedicated to the holiest and most ele wodern ish by their own, profound knowl fing enjoyments, may be rightly called she King of all imstruments, He who, Tike Weel, has felt and appreciated these entrancing enjoyments, and has attended the immortal Vogler’s Organ performances, will fee] convinced, as (aun, that the Organist anust no: fail to study these works, and attain the power and taste necessary to their exeention, In the “aeipigee Musiatische Seung,” No, 46 (1819)~-the critic of the Second Part of my Organ School describes distinetly the aim of these pieces The same critic wishes, with justice, that there should exist no change of Chorales in different places 1 afso, feel this to be a great disadvantage, but alter mature deliberation have thought fit to take the “SresscherjaglcheResiche” Choral-book as a foundation. Whatever is chosen, a diference will be found for diferent pinees, even for those nearest each other. Any friendly remark on my Work will be weleome to me, as I esteem the views of those who are experienced, and shall feel inclined to correct any acknowledged want in some second edition, out of respect for the high tendency of the art, May my efforts in the cause of Organ-playi Darwstat, Argus 1820 THE AUTHOR.138 Bink’s Practical Organ Achool. PART. VY. PRELUDE. (4S voor.) (or) MOIS: f139 PRELUDE. Moderato. (oe) f140 POSTLUDE, cooderate, we OTT aiGrave. rave POSTLUDE. Moderato - (ae)— POSTLUDE. Grave (sw) 9179: f a i w145 Moderato . fPOSTLUDE Mr a ® (en) Largo. 180 { feo Moderato.FANTASIA. a ‘Adagio patetica. oo? = N°181. ——- a (og ‘Allegro moderato . ay Ten)152153 = SS het is. z pd += = to = BE Se = ——_ 8154 Flute Concerto. Allegro maestoso. C.H.RINK « fiow tose, (Fate BEC),155156160162 dagi rote, a a ad tis i ==Attwore Ronde, soy. . a ar — k etn Allegretto aree Ng ht ——.,f,~ ete wma se.

= pre.uve. Moderato. ee A W188. pee192 Fuca. Moderato. 9189:Moderato. PRELUDE and FUGUE. 2190.194 i Peet eat eT gop fe Nhe aD= =—___ = = __sF____ : _—, = aw198 Moderato, PRELUDE, ‘© W191. fe200 Moderato 192.201Grave. ae FANTASI. N? 193: PEDAL soto. (92 ana 16F0) (s¥: Doteiana iaf Allegro moderato. (ron sw)Grave. Sa a)aie Fuca, Moderato. WV? 194, en).208Grave. x) \ VP19S. oo210 Moderato. oe FUGUE ON THE NAME oF “BACH”eu#12 Pit moto. _13 ce)