A Basic Physical Approach to the Organ
Peter Hurford · 1990
Abstract THE mastery of any musical instrument requires a high degree of mental and physical co-ordination. For a keyboard player, the understanding and subsequent projection simultaneously of several lines of music, each with its own articulation and phrasing, adds to co-ordinative problems a dimension unknown to other performers. For the organist, who must often share several contrapuntal lines not only between ten fingers but with his feet as well, the degree of co-ordination required is greater than for any other musical performer (or indeed for any other occupation known to me). In responding to such a challenge, the organist must learn to be an honest, self-critical listener; his own ear will be his best tutor, and its efficiency will improve with practice. However, first it might be helpful for him to consider several points of posture which are of basic importance to consistently good playing.