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NOTATION FOR ORGAN EXTENDED TECHNIQUES
Cláudio de Pina
CESEM
Lisbon, Portugal
claudiopina@campus.fcsh.unl.pt
ABSTRACT
The notation of extended techniques on the organ do not
have a clear standard. Composers use their own notation
or guiding rules to express their sonic expansion on the
instrument. Since 1960, the most prolific period on organ
experimentation, Ligeti, Kagel and Cage were the first to
become known for using non-standard notation on the or-
gan. From this collection of works, the ones from Ligeti
are paramount. From the graphical score of Volumina, the
long clusters of Harmonies to the fast torrent of notes of
Coulée. Kagel develops further with other notations for
clusters and graphical gestures in Phantasie für Orgel. Fi-
nally, with Cage we find a simpler way of notating long
notes and stop changes. Kurt Stone has a chapter on his
book, Music Notation in the Twentieth Century, regarding
notation on the organ, but it not describes half-drawn re-
gisters, half-depressed keys and does not present anything
regarding motor or other air manipulations. A clearer
notation and explanation is needed for these extended
techniques. In an instrument so tied to a functionality, it
is pertinent nowadays to re-incorporate these techniques
in the contemporary organ repertoire. A new simple nota-
tion is presented, alternative to graphical notation or
lengthy performance notes. This will create an easy un-
derstandable approach.
1. INTRODUCTION
The protean Hungarian composer György Ligeti (1923-
2006) caused a paradigm shift on the organ in the 1960s.
His work with electronics in the WDR1 shaped his mind
to use his findings through acoustic instruments. His sem-
inal organ work, Volumina (1961/62, rev. 1966) is fully
written in a graphical form [1]. In this way, several
clusters that need elbows, hands, and feet, are layered
down with massive black and white shapes. Each sign
representing a chromatic, diatonic or pentatonic cluster.
Copyright: © 2022 Cláudio de Pina. This is an open-access article dis-
tributed under the terms of the Creative Commons Attribution 3.0 Un-
ported License , which permits unrestricted use, distribution, and repro-
duction in any medium, provided the original author and source are
credited.
1 Westdeutcher RundFunk – West German Broadcasting, Cologne.
In the middle section we see a chaotic graphical form.
This represents something akin to a guided improvisation.
Webbed lines and dots form several patterns with a
healthy guide note of how to perform them. It quickly be-
comes cryptic for the unprepared organist [2]. A com-
poser that would choose this way of writing, even
nowadays, would meet a hard reception on any organ
composition contest. In Volumina a vertical line coincides
with the organ compass and establish the only guiding
notes. The graphical score reminds works in a same vein
of Cornelius Cardew [3]. A decade later a similar graph-
ical score is done, by Rainer Wehinter for Ligeti’s elec-
tronic work Artikulation (1958). Nevertheless, after Volu-
mina, Ligeti worked on two organ studies. The first Har-
monies (1967), contains a fanning out of ten pitches from
a tonal centre, C, decreasing in several voices towards the
end. Ligeti had the idea to ‘starve’2 the wind supply to
achieve an unnatural sound. These extended techniques
and resulting sonority are not written on the score, but de-
tailed on the performance notes. Also, special advises are
added regarding the registration, dynamics, tempo, and
even practicality considerations like octave transpositions
and specific registration needed, which none are indicated
on the score itself [4].
In the second study, Coulée, like the previous one, he
also indicates exact pitches of notes. They should be
played as fast as possible, to sound like a cluster. Al-
though every note is a suggested eight-note in a continu-
ous stream, one can assume the influence of his harpsi-
chord piece Continuum (1968). At the end exists a remark
on the full duration of the work, about 3’ 30’’ [5]. This
annotation is also present in Harmonies, in this case 6’ to
9’, what can be a clear influence of Bartok.
This article will neglect Ligeti’s first organ work Ricer-
care per organo, 'Hommage to G. Frescobaldi' (1953)
since it does not bring anything new regarding notation.
Written in the style of a chromatic ricercare, the original
manuscript is owned by Ove Nordwall, using standard
notation. A special note that this work is almost identical
to the eleventh movement of Musica Ricercata (1951/53)
for piano [6, 7]. Ligeti planned to work on further studies
(Zéro and Le son royal) but they were not done, and no
information remained to create a fair assumption of what
path he will take [7].
The Argentine-German composer Mauricio Kagel
(1931-2008) wrote several organ works with his own
2 Term used by Ligeti for decreasing the air supply.
notation. Improvisation Ajoutée (1962), the cycle
Rrrrrrr…. (1980/81) and Phantasie für Orgel mit Obblig-
ati (1967). None have the same scope of graphical nota-
tion we found in Volumina, having instead a careful mix
of clear notation and only a few graphical forms. Impro-
visation Ajoutée uses regular staves for the assistants,
choir and stop changes, besides the manuals and pedal.
Of special note, which this article reflects, is Phantasie
were we find a more audacious approach, regarding or-
gan techniques. A ‘tablature like frame’ fills the score
consisting of; Register, manuals, pedal and tape-ma-
chines. The score is divided by in seconds. In the manual
and pedal section we find only three lines indicating a
tonal area with regular rhythms written, but without bar
lines. The tape part, for two tape-machines, indicates
start, stop, and dynamics. The tapes consist of previously
recorded sounds in a theatrical vein (typical of Kagel);
Rain, Hail, Flushing of Toilet, Breakfast, Organist Walk
and a big finale of Baptisms, Marriage, and Funeral ser-
vices. In general, it is heavily scripted with fast-paced
changes. The clusters are regularly notated, although,
without a standard stave only a general idea of the tonal
range is given. We can find a direct quote to the graphical
Volumina in the middle section with black triangles
filling the score. After this middle section appears a regu-
lar notation, a pastiche of Fréderic Chopin’s Étude op.25
mov. VIIII, superimposed with the VI and X movements.
Except for this piano quotation, all the rest would be quite
cryptic for the uninitiated on vanguard techniques on or-
gan.
In Rrrrrrr… we find usual notations for several manu-
als with the special mention to the technique of slowly re-
leasing the keys, changing the air flux.
Regarding John Cage, his most known organ work is
definitely Organ2/ASLSP (1987), an adaptation of ASLSP
(1985) for piano solo (that can also be played in organ).
In both titles the abbreviation stands for “As slow as pos-
sible”. The inspiration for the title refers to “Soft morning
City! LSP!” the first exclamations in the last paragraph of
Finnegan's Wake by James Joyce. They are coined has
one of the longest pieces in existence, since Cage did not
mention the duration. This piece is still being played in
the John Cage Organ Project3 in Halberstadt (Germany),
and it will be continuously played until 2640.
The impact of the ASLSP variants his unavoidable to
the organ, but his other works are also pertinent, although
with few remarks regarding notation. In Some of ‘The
Harmony of Maine (Supply Belcher) (1980) for one organ
and six registrants (assistants that will change the organ
stops) we see a clear change of scenery. Special care was
given to the stops changes teamed with indeterminacy
methodology and a clever pastiche use of known Amer-
ican musical themes. In Souvenir (1983), commissioned
by the American Guild of Organists, the same thematic
use of a motif can be seen, but with a clear path to the
ASLSP variants, regarding notation, duration and clever
use of manual and pedals. But there is not much new re-
3 https://universes.art/en/specials/john-cage-organ-project-halberstadt
garding notation techniques, so the idea of using weights
to achieve long notes (and notate then) is the most pertin-
ent one.
From Cage’s works we can see the usefulness of
weights for the long notes of Organ2/ASLSP, but further
indications are needed for the correct use of weights, con-
cerning, placing and removing them. Besides taking into
account the preparation need by the organist. A note can
be said about using pencils or ohashi, that depend on the
disposition of the keyboard and console. The word
‘weight’ will be used in this article to generalize the idea
of depressing a key with an object. This technique needs
a carefully thinking from the composer since you need
two movements, limiting the gestures of the organist, one
movement to fix a note (or group of notes) and another to
remove it [1].
These examples will be used to introduce extended
techniques and their notations. Each delve on a new ap-
proach that result in new sounds. Taking into account all
techniques created by the mentioned composers one can
summarize that they use:
Changing air pressure (by manipulating the key-
board or stops),
Using weights for long notes (therefore liberat-
ing one or two hands for other manipulations),
Turning on and off the motor engine (cutting the
air supply).
One could easily mix these three approaches creating a
bric-à-brac. For example, one can use different weights
(that would not fully depress the keys, causing a smaller
air flux) to fix certain notes, with already prepared re-
gisters half-drawn and after a few seconds turning the en-
gine off. One could imagine a score that would have the
notes to be played (or in this case, fixed) and some nota-
tion for the stops and turning off the engine. But that
would not be clear to every organist. At a first glance this
kind of performance would need thorough notes from the
composer with a possible debate with the organist and his
insight of the instrument that would be used. This task is
cumbersome to each part, so a simpler notation will be
presented in this article.
2. LIGETI
Ligeti used vanguard techniques that need to be further
analysed. Musical notation can be defined in very differ-
ent ways, quoting Cornelius Cardew and his definition
that which determines what you can say and what you
want to say, determines your language [3]. But not all can
be translated well for an unprepared organist or com-
poser. In Volumina, it is possible to perform with the
graphical notation, after careful consideration of the per-
formance notes. Although the graphical form is more
helpful regarding stationary and moving clusters.
In contrast, Harmonies uses two treble clef staves to in-
dicate specific pitches contained in each cluster. This
style of notation, very different from Volumina, tries to
achieve a similar sound palette, but this time with fixed
notation on a score. The black or white note heads are
just a marker for performance. Since the tempo value of
the notes and bars are not fixed, the change of note heads
aids the performer to follow the score. A special note to
the use of several fermatas to emphasize the duration [8].
Quoting Ligeti regarding the performance notes of Har-
monies: “Nowhere in the piece should the chord succes-
sions create an impression of meter or periodicity”. The
notion of passing chords and the value that they can rep-
resent is left to the performer. Since the changes are al-
ways in minor seconds, one could assume a contra-punc-
tual resolution of leading voices or passing notes. Har-
monies does not follow any harmony rules. All the note
changes are made to have a direct consequence on the
resulting starved sound. Another quote from the perform-
ance notes: “The whole piece is soft to very soft. Pale
strange, ‘vitiated’ tone colours must predominate. Dena-
turing the sound is achieved by ‘greatly reduced wind
pressure’”.
At the end, a single note is added by the pedal, further
decreasing the air flux. There is no meter signature and
no time value given to the notes. Only a mark: “Rubato,
sempre legatissimo”. Nevertheless, there are bar lines.
The moving pitch is notated with a white head and the
black notes slurred continuously on overlapping bars.
Both note heads are stemless and beam less, indicating no
rhythm whatsoever. The ten note chord decreases in num-
ber towards the end, remaining a three note cluster. Ligeti
warns that the ‘passing notes’ are always a minor second
away. The final thirteen bars use fermata (few of them
stacked), while the texture is being thinned in the amount
of voices. It can also be said, that the last thirteen bars are
akin to a filtering technique, like an electronic filter
would cut the sound in few parcels. In the score there is
no indication of registration or assistance needed and dy-
namics are also absent [9].
In second study — Coulée, the continuum motion of
eight-notes contrast to the suspended clusters of Harmon-
ies. It does not appear to be a cluster or micropolyphony
composition, but when we take into account the reverber-
ant space of a large church and a carefully chosen regis-
tration we can listen to a sound result akin to a cluster.
Only when we listen to several recordings we truly per-
ceive the diverse interpretations of Coulée. Each hand is
playing arpeggiated groups of 2, 3, 4 to 5 notes. No bar
lines exist, merely a suggestion has a dotted line. These
clusters continue to evolve until m. 100, where they con-
tract to a single pitch, the tonal centre, Ab. This effect is
maintained in a few bars with a movement similar to an
octave string tremolo. The correct tempo should keep the
duration within 3 and a half minutes. The stream of notes
abruptly stops at the end, near the high limit of the instru-
ment (much like Continuum, which follows the same
composition methodology, albeit in harpsichord) [9]. The
pedal notes are near inaudible and only reaffirms a cluster
like a freeze convolution effect [11]. The repose and ten-
sion, unlike Harmonies, are implied by the lack or vary-
ing of pitches and number of notes. From this density of
superimposition, a binary form can be deducted, A —
Repose and B — Rhythmic tension.
3. A NEW NOTATION
It is clear that there are important aspects for the perform-
ance of Ligeti organ works outside the notation. Without
the performance notes, it is impossible to perform them.
The main concern of this article is proposing a clearer
and concise notation for extended techniques on the or-
gan, based on the mentioned repertoire, and without the
aid of performance notes.
The sound morphology of the pipe organ does not per-
mit the same interpretation has in other instruments. The
key connected to the pipes, brings a sound with always
the same envelope. The way it plays, a performer can
only adapt articulation between the keys and the acoustics
of the space to bring forth a degree of expression. The
same applies to dynamics, the organ can only add or sub-
tract registers in layers. Albeit some instruments have a
volume pedal, that either brings more registers or open/
closes certain cabinets of pipe ranks, thus mimicking a
crescendo [11].
The use of extended techniques breaks some of these
paradigms. One can use a half-key technique for creating
a small glissando and crescendo. Manipulating the stops,
one can achieve a tremolo effect, or bring non-pitched
sounds. Like in Volumina, by turning on and off the en-
gine while some keys and registers are drawn, achieves
another kind of sound, more akin to synthesis program-
ming in a computer (an out-of-the-box comparison would
be the Deep Note4) [11]. For the proper use of these tech-
niques, a systematization of notation is needed to help
composers and organist understand better what is happen-
ing, instead of reading performance notes. In this way, it
furthers develop the interest on these techniques.
Several compound examples will be described, that are
suitable for a clear perception and reading. Many of the
composers that where quoted have their own notations,
and some of their ideas are put into practice. One can and
should adapt them to the purposes needed for the inten-
ded purpose.
In Figure 1 we have a clear logical sign for turning the
motor on and off. The duration of the decay/rise of the
sound is proportional connected to the amount of pipes
that are feed by the wind. This means that many keys
and/or many pulled registrations will behave differently.
An introductory test is highly advised. By applying
weights to the keys, with a notated rhythm, by only chan-
ging the note-head, creates a new way of interacting with
4 A trademark of THX Ltd used previews in cinema theatres.
Figure
1.
Turning
off
and
on
the
engine. Weights
noteheads.
the keys. Using arpeggio to remove the weights in a cer-
tain order is a natural consequence.
Another possible way is to use words like FIX, used in
Australpnea (2010) by Frederik Neyrink (1985) or simply
use an ossia stave for longer values or keys on another
manual [9].
In Figure 2 are examples aimed to gradually open stops.
These can only be made with organs that have mechan-
ical stops. The mechanics of stops are quite sensitive and
different from each stop and organ, so once again, prior
experiments are advised.
The crescendo and decrescendo lines helps the organist,
assistant or composer in having a general idea of the dy-
namics that happen with half-drawn stops. This technique
is compounded with the dot sign, gradually white, black
or half-black. The use of a dot for the least amount of
pressure is also correlated to the way the holes are closed
in wind instruments. The white dot is the most amount of
pressure on the key (or the usual amount of air to play a
regular note).
Using a stave (or tablature) for the stops brings another
level of creativity and expression. One can notate
rhythms to be ‘played’ by opening and closing the stops.
Usual note-head for opening, cross-head for closing.
When one needs to gradually open/close the stop, we use
the same dot sign. In this case it is directly correlated to
the way the registers work inside the organ, again, like
keyholes in wind instruments. Again, dynamics marks are
here to guide the organist, assistant and/or conductor con-
cerning the general dynamic. The dynamics should fol-
low the amount of open stops and their quality.
In Figure 4 we can examine a compound use of several
techniques. Using weights brings the possibility to the or-
ganist to ‘play’ with the stops. It also frees the hands to
control the engine or prepare for the next stop change.
The glissandi lines on the last measure are the indication
of slowly removing the weights, mimicking the half-
drawn stop technique mentioned before. It is similar to
the slowly risen key example from Rrrrrrrr... by Mauri-
cio Kagel [8].
It is still possible to use a more usual way of notating
stop changes with + or – signs. For a specific stop change
this is clearly the most understandable. Since organs have
several manuals and ranks this notation helps differentiate
them from half-drawn stops. The same applies to organ
with combination or feet piston that activate or deactivate
several ranks, like in Figure 5.
This is the usual way of notating registrations changes
in Portuguese historical organs, that is similar to other
historical instruments. A subtraction or addition sign is
used to call certain families of registers and is also
present on modern organs. Some can even save entire
stop changes that can be called upon with pistons beneath
the manuals or pedal board. In these organs there are usu-
ally some feet control for families of stops, being reeds
and mixtures the most common in historical instruments.
Some organs can also couple or decouple manuals and
also store entire performances on demand with electronic
means. All of this does is already attended for in regular
notation for organ. Even though there are a few excep-
tions, like the organ of St. Peter Station or Kassel in Ger-
many, that can easily control the air flux, making it easier
to perform extended techniques, these notations will help
even on these modern instruments. This is outside the
scope of this article, but nevertheless, with inventiveness,
one can achieve the same sounds with a not so modern
organ, being historical or not.
Figure 2. Gradually opening stops.
Figure 3. Stop tablature. Dynamic lines.
Figure 4. Applying weights. Mixed use of engine and
stop manipulations.
Figure 5. Stop changes.
CONCLUSIONS
These techniques have a high amount of permutations
and iterations with each other. This article presents a
compound sample. A secondary objective is to make it
easier to experiment with them. Since the result of this
notation for extended techniques are based in the work of
the quoted composers, an audition of this repertoire is ad-
vised. It is also recommended comparing new and old in-
terpretations, like original recordings by Zsigmond Szath-
máry, and recent ones by Dominik Susteck (both pub-
lished by Wergo, Schott)5.
Detaching this notation from a pure graphical form will
defeat the inertia of composers and performers regarding
extended techniques on the organ. This way is easier to
understand and will not further intimidate young students.
Besides being straight forward to all levels of organ tech-
nique. The potential of using this notation for young or-
ganists will assist both the teacher and apprentice, creat-
ing a common ground of notation that can be easily done
in manuscript. New repertoire could be easily created this
way, without the need of special vector graphics software
or other, closing the gap of contemporary music on the
usual repertoire of the instrument. These proposed signs
and symbols are available in the most used notation soft-
ware (Sibelius, Finale and Dorico), and if not, they are
easily created. They can easily be drawn using pencil and
paper, still a proven way to draft a musical idea quickly.
With this notation one could change the paradigm of writ-
ing contemporary music for the organ during the under-
graduate studies of young composers, who most see writ-
ing for this instrument has a daunting task.
A note could be said that even with modern organs who
can produce extended techniques easily this notation will
help (Orgelpark6, St. Peter7 and Kassel8). From a point of
view of the composer, one should use a level of logical
that can be used in any case. From the point of view of
the organ teacher, one can assume the pedagogical bene-
fits of using a simpler notation, to prepare the students to
deal with certain techniques on the instrument. The same
sign codification has other contemporary repertoire, with
some logical signs added, can also help anyone, with suf-
ficient musical reading proficiency to have a clear idea of
what his happening and how to play.
This article proposes notations and techniques that can
be used in any organ. In fact, most of these instruments
are entirely mechanic in nature and the degree of control
of the keys and stops are directly connected to the organ
innards, providing a sense of direct connection to instru-
ment. In some cases they indulge a deeper experimenta-
tion. Follow these guidelines has a recipe with the mind
set that Ligeti purposed: “be inventive.”
5 https://en.schott-music.com/wergo/
6 https://www.orgelpark.nl/
7 https://www.sankt-peter-koeln.de/wp/kunst-station/ubersicht/
8 http://www.ekkw.de/kassel-mitte/martinskirche.php
Acknowledgements
This work is funded by FCT - Foundation for Science and
Technology, I.P., within the scope of the project Sound
expansion in the historical organ and contemporary mu-
sic interpretation practices. Furthermore, I would like to
thank the CESEM, FCSH/UNL - Centre for Studies in
Sociology and Aesthetics of Music, my research group
GIMC – Research group of Contemporary Music and my
Ph.D. advisors Dr. Isabel Pires and Dr. João Vaz.
Further acknowledgements to the Parish of Nossa Sen-
hora da Ajuda for permission to develop these extended
techniques in a historical Portuguese organ.
The scores from the composers are mentioned by kind
permission of Universal Edition, Schott Edition and
Peters Edition.
REFERENCES
[1] S.C. Anderson (ed) Twentieth-Century Organ Mu-
sic. New York: Routledge, 2012.
[2] G. Ligeti, Vorwort zur Partitur Volumina, Frankfurt:
Peters, 1967.
[3] C. Cardew, Notation – Interpretation. Tempo LVIII.
1961.
[4] G. Ligeti, Vorwort zur Partitur Étude n.º 1 – Har-
monies, Mainz: Schott, 1969.
[5] G. Ligeti, Vorwort zur Partitur Étude n.º 2 –
Coulée, Mainz: Schott, 1969.
[6] G. Ligeti, Vorwort zur Partitur Volumina, Frankfurt:
Peters, 1967
[7] P. Albèra, C. Fourcassié, P. Michel (ed), György Li-
geti L’atelier du compositeur - écrits autobiograph-
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[8] A. Blackburn, The Pipe Organ and Real-time digital
signal processing, doc. diss. Melbourne: Griffith
University, 2011.
[9] G. Collins, Avant-garde Techniques in the organ
works of György Ligeti, A lecture recital, together
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Texas: North Texas State University, 1980.
[10] G. Ligeti,”Was erwartet der Komponist der Gegen-
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[11] H. Olson. Music, Physics and Engineering, New
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