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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Finding Realistic Inspiration for Organ Improvisation

Keven Smith · July 15, 2023

HERE DO IDEAS COME FROM? Can we make up an idea out of nowhere? Or is each of our creative thoughts based on other material we’ve seen or heard? I tend to think that as musicians, we’re products of all the music we’ve ever heard. When we sing, for example, we unconsciously recall the other voices we’ve loved best and discover elements of their resonance in our own voices. When we conduct, our bodies use a vocabulary of shapes and patterns we didn’t even know we were collecting as we watched other conductors direct us in ensembles.

When we improvise, we can’t play what’s not in our audiation—or at least, we can’t keep that up for long. Everything we improvise sounds familiar because it is. But to trace each phrase or each interval back to the day we acquired it would be as difficult as tracing each cell in our body back to the meal from which it was built.

How do we get better at improvising? By building up the library of music in our audiation. How do we build that library? By listening. A wonderful young organist friend of mine who’s wise beyond his years gave me some improvisation tips a few years ago. First priority: listen to lots of music.

It’s great advice, of course, because we acquire music in the same way we first acquired language as babies: by listening. The more good music we listen to, the more we’ll expand our audiational library.

But I contend that for a beginning improviser, not all music is created equal. We need ideas we can emulate, and we can’t emulate what we don’t understand. That’s why it can be frustrating to listen to the masters of organ improv.

If you’re learning organ improvisation, you’ve probably had someone tell you, “Listen to the greats: Olivier Messaien, Marcel Dupre, Olivier Latry….”

The greats are inspiring. Their music is uplifting. I can only imagine how they would draw me more deeply into the mysteries of the Mass if I were fortunate enough to have them playing at my parish (rather than listening to myself so much).

But from a learning perspective, listening to the greats has its limits. Take this masterful improvisation by Olivier Latry, for example:

Wow, right? But as an organ student, can you emulate this on any level? Probably not. It would be difficult even to dumb this down into a template you could use for your own exploration.

This is why we organ students need more accessible masters from whom to learn. We seek organists whose creations are easier to unpack and analyze, and whose artistry seems a bit more “in reach.”

Where can we find these musicians? I’m happy to share that you can sample the improvisations of dozens of organists at OrganImprovisation.com:

http://www.organimprovisation.com/organists/

Among the site’s many resources are pages that offer profiles of organists from around the world and provide links to their improvisation recordings on YouTube.

Now, some of the organists on OrganImprovisation.com do play at too high a level of sophistication for the student organist to analyze. But many sound more like very polished parish musicians. Spend some time sampling what they have to offer. Bookmark your favorites. And return often for fresh inspiration. Happy practicing!

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

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Filed Under: Articles Tagged With: organ, organ improvisation Last Updated: July 15, 2023

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About Keven Smith

Keven Smith, music director at St. Stephen the First Martyr, lives in Sacramento with his wife and five musical children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“The priest coming nearer to the faithful; communicating with them; praying and singing with them and therefore standing at the pulpit; saying the COLLECT, the EPISTLE, and the GOSPEL in their language; the priest singing in the divine traditional melodies—the Kyrie, the Gloria, the Credo—with the faithful: these are so many good reforms that give back to that part of the Mass its true finality.”

— Archbishop Marcel Lefebvre (1965) praising vernacular readings at Mass

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  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”

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