Practical Aspects of Teaching Tournemire’s Improvisatory Style

Ann Labounsky, FAGO, Ch.M

Boston AGO National Convention

June 24, 2014; 3:30-4:00

Vineyard Room

“…to create spontaneously”

“ A musician who possesses the ability to create spontaneously…the sonorous monument establishes as he/she goes along … with logic and fantasy sometimes, the illusion of something written and in the inspired moments—the flashes which belong only to this manifestation coming from the head and the heart. “

Quote from

Précis d’éxécution de registration et d’improvisation à l’orgue

by Charles Tournemire

Editions Max Eschig, Paris, 1936

“…the Head and the Heart”

Learning of various formulae (The Head) and practicing them until they are a part of one’s style.

These include both the forms and the formulae.

Applying them (The Heart)

Two Simple Basic Forms

1. Binary form with one theme (A, A1, B, B)

2. Binary form with the development as the second theme (ABA)

1. Binary with one theme

A. First phrase, Antecedent and Consequent statement

B. Return of first phrase, with a different presentation

C. Commentary and its consequent phrase

D. Return of the commentary phrase with a different presentation. (Example #1)

. 2. Binary with two themes

A. Second theme can be the development particularly by the use of a motif from the first theme.

(Example #2)

Demonstration of forms using one theme from CT’s Variae Preces

(Example #3)

Tournemire’s style and harmony

1. Modality, especially Locrian mode (C,Db, Gb, Ab, Bb, C; read backward and forwards)

2. Organum (parallel 4ths and 5ths) Postlude Libres #7

3. Added tones (2nds, 9ths) Sei Fioretti Book II, #6

4. Extended pedal ostinati l’Orgue Mystique, Epiphania Domini Finale

5. Octave doublings. Variae Preces, Part 1., pg. 38

6. “Tournemire” chord, Poem #3

7. Trills , l’Orgue Mystique, Dominica Resurrectionis

8. Extension of a musical idea. (Scherzetto) #2 Variae Preces

9. Repeated motives and rhythmic ostinati. ’Orgue Mystique, Dominica Resurrectionis

1. Modality

Modality, especially Locrian mode (C,Db, Gb, Ab, Bb, C; read backward and forwards

Locrian Scale (Example #4)

2. Organum (parallel 4ths and 5ths)

Postludes Libre #7 Musical (Example #5)

3. Added tones (2nds, 9ths) Sei Fioretti Book II, #6

(Example #6)

4. Extended pedals l’Orgue Mystique, Epiphania Domini Finale

(Example #7)

5. Octave doublings

P. 38 Variae Preces, Part 1

(Example #8)

6. “Tournemire” chord

Poem #3 at the climax

(Example #9)

♯

7. Trills L’Orgue Mystique,

Dominica Resurrectionis

(Example #10)

8. Extension of a musical idea (Scherzetto) #2 Variae Preces

(Example #11)

9. Repeated motives and rhythmic ostinati L’Orgue Mystique

Dominica Resurrectionis (Example 12)

Improvisation of an offertoire Binary form based on one theme

A. First phrase, Antecedent and Consequent statement

B. Return of first phrase, with a different presentation

C. Commentary and its consequent phrase

D. Return of the commentary phrase with a different presentation.

(Example #13)

Improvisation of a Communion.

Quite short

Meditative

One theme

Using the extension of a musical idea, added tones, etc.

(Example #14)

Improvisation of a Sortie

Can be Binary with one theme or with a development.

Includes here toccata elements double trills Pedal ostinati “Tournemire chord”

(Example #15)

The Heart

Knowing the forms and the style, the heart gives flight to follow ones fancy as did CT.

Both the style and form must be deeply engrained to permit the heart to express itself freely.