It was illustrated in my prior study how it is possible to make a small one manual organ sound like a bigger organ with many manuals. It was, for instance, illustrated a playing technique that also makes trio playing possible with an organ without divided or half stops. In practice it means amplifying the tonic in its aliquot tones by the means of the playing technique. The tonic of the melody as well as the alto and the tenor are played with the left hand, one or more aliquot tones of the melody with the right hand and the bass with the pedal board. In the prior thesis this playing technique was named as the imitation of stops.

In this study, in which the central content is the fifth organ stop arrangement, the concept of partial note doubling is used, which better depicts the implementation: playing the tonic and one or more aliquot tones to produce the tone of the missing stop wished for.

In the previous study it turned out that it would be worth drawing up an independent study concerning organ stop arrangement. This is probably something completely new in the field of organ music. The challenge was accepted and the theme of this new study is the fifth organ stop arrangement of the organ chorale Herr Jesu Christ, ich weiss gar wohl (BuxWV 193) by Dieterich Buxtehude (ca. 1637 – 1707), which was issued in the prior thesis. Having made progress in my career I have become aware of explicit defects in the prior arrangement. The aim of this thesis was to implement a publishable fifth organ stop arrangement of the original composition.

The organ chorale has originally been composed for the organ with many manuals. The composition is in four part and has been notated in three staves. The soprano on the upper staff, the melody of the composition is played with the right hand, and the alto and the tenor on the mid staff from a different manual with the left hand. The bass of the low staff is played with the pedal board. The starting point from the fifth organ stop arrangement is the model notation written on the basis of the original composition. The melody has been written on the mid staff, and on the upper staff there is a tone that is duodecim (octave + fifth) higher than the melody. The alto, the tenor and the bass are on the original position. Due to the restriction of the manual register the manual passages of the organ stop arrangement are often notated an octave lower for the four foot organ stop basis.

Based on the model notation I composed two fifth organ stop arrangements. In one of them the most extensive ambitus is an clean octave, in the other one a wide duodecim. The arrangements are to be found at the end of this thesis. The goal set was reached: the notational layout is clear, the tonal changes and the part-writing of the arrangement are considerably better-thought-of than in the prior study. I believe that this playing technique and notation method has also inter-national meaning. I hope that as many organists as possible would pick up these arrangements in their repertoires.