Don't! Don't! Don't!
To point out that which should not be done is contrary to modern educational canons. By so doing one is apt to suggest to the mind of the student some form of wickedness with which othe wise he might never become familiar. On the other hand, a word of warning can generally be concisely expressed—a fact which must be allowed, in these days of paper shortage, to overrule other considerations.
Everything depends upon attention to details. The successful church organist seeks to produce the most artistic effects, even in the minor details of the service. His first concern is his voluntary. If, then, you would be successful, if you would achieve even a passable result in this direction—
Don't select your music after a cursory reading of the publisher's catalogue. The publishers will generally send you a bundle of music on approbation. Go through each number carefully. Find out what will suit you and your instrument, and decide accordingly.
Don't play voluntaries that are technically beyond you.
Don't select pieces written to display "fancy stops," nor pieces reminiscent of the orchestra, as voluntaries. As far as possible make the most of genuine organ music.
Don't neglect Bach, Buxtehude, Rheinberger and Wesley on the ground of classicality. People will always listen to the classics if they are carefully played.
Don't forget that the modern composer needs your support.
Don't contribute to the efforts of second- and third-rate composers. There is no room for them in the domain of art. And having selected your music—
Don't neglect to practice assiduously, and don't fail to see that you have your voluntary thoroughly in hand before performing in public.
Don't test your pieces from the organ-loft, but from the body of the church. Get a friend to play for you and test for yourself.
It is to your decided advantage if you can extemporize, although the bulk of organists cannot do so. It is a difficult art, demanding as it does both theoretical knowledge and technical skill. But it is well worthy of study.
Don't pretend to extemporize without previous preparation. A sketching-out is necessary at first, and can only be dispensed with after considerable experience.
Don't ramble along your keyboard in order to "fill in" the unavoidable gaps which occur during a service. Whatever you do, do it on definite lines.
Don't lightly regard improvisation because of its transitory nature, for it is (properly conceived) the highest form of musical culture.
The business of accompanying is the most serious of all—
Don't allow your choir to accompany you. Most organists do. Don't you.
Don't be noisy. It is your concern to support the voices, not to drag them over difficulties and bolster them up when their intonation is faulty. Once done, always expected. Therefore stick to the principle, even if a catastrophe or two result; it pays in the long run.
Don't use your reeds too frequently; they are opposed to good vocal tone. Let your selection rest rather with the diapasons and flutes.
Don't regard a combination of stops as indispensable. Frequently allow your stops to be heard singly.
Don't be forever pedaling; 16-ft. tone soon becomes monotonously irritating. Vary your tones, of course, but with a preference for the 8-ft. ones.
Don't attempt word-painting. You cannot imitate the grin of a dog as it runs about the city; nor "caterpillars innumerable," nor "sharp razors," nor "hot thunderbolts." Rather go to the other extreme and leave descriptive work alone.
Don't make a practice of using fancy stops when accompanying, especially the celeste, vox humana and tremulant. Sparingly used, the effect may be good.
Don't introduce appoggiatura, arpeggio, etc., into your accompaniments.
Don't add to the swell with the swell-box open.—The Organist and Choirmaster (London).