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Organ - Level 3 - Digital Download SKU: A0.1412256 Composed by Ausra Motuzaite-Pinkeviciene. Christian,Classical,Contemporary,Religious,Sacred. Score. 7 pages. Secrets of Organ Playing #994469. Published by Secrets of Organ Playing (A0.1412256). This accessible and joyful piece is based on Gregorian chant tune for the Solemnity of Christ the King Christus vincit! Christus regnat! Christus imperat!. It is written in the 5 part rondo form ABABA where the main theme alternates with the secondary theme and visits many interesting keys and colourful harmonies. It will be very effective in liturgical and concert organ playing whenever fast and loud music is desired. Dedicated to Carson Cooman.
Litany on Christus vincit, Op. 18 (Organ Solo) by Ausra Motuzaite-Pinkeviciene
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Organ - Level 5 - Digital Download SKU: A0.534515 Composed by Jean-Thierry Boisseau. Concert,Contemporary,Standards. Score. 9 pages. Musik Fabrik Music Publishing #3586089. Published by Musik Fabrik Music Publishing (A0.534515). This little suite of four short pieces for Organ was conceived for a “ portativ †without pedals (8.8.4.2.mixture)It may also be performed on a large organ, with the condition that the organ should be treated as “ Blockwerk â€. The performer should not change the registration in the course of each movement (the registrations given may, of course, be changed if necessary). If the performer wishes to play these works on two seperate keyboards, it would be necessary to have the same registration on each keyboard (ie if mixture on the I, mixtures on the II : reeds on I, reeeds on II etc). If the performer is tempted to add an improvised pedal part, the composer would have no problem with that if it were done with taste.
Jean-Thierry Boisseau: S.W.E.N. for organ
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Organ - Level 4 - Digital Download SKU: A0.1137387 Composed by Felix Bartholdy Mendelssohn. Arranged by Phil Beaman. Classical,Romantic Period,Sacred,Standards. Score. 11 pages. Phil Beaman #737590. Published by Phil Beaman (A0.1137387). Psalm 22 is a well-known and loved 8 part a capella choral work by Felix Mendelssohn. I have here arranged it for Organ Solo. Psalm 22 is about a person crying out to God to save him from his enemies, then thanks God for rescuing him. Thus, the first half is in E minor and the second half is in E major. Since it no longer has lyrics to convey the meaning I have used new tempi, dynamics, and registration, and also altered some harmonies and rhythms to add the appropriate interest and emotion. In order to create dialogue on the organ I have used unmetered recitative chant followed by metered antiphon in many places. In another section I use overlapping call and response between the hands and manuals. These are interspersed with 4 part Chorales. The mood constantly shifts throughout in many short sections, but the beauty is in the way they fit together creating harmony and polyphony and dialogued emotions. This is a great 9 minute organ Prelude which bridges the Classical and Romantic eras. 9:15 minutes; 11 pages (Apologies- I was in a hurry to record this, so there are a couple of wrong notes and rhythmic inaccuracies in the recording.).
Psalm 22 - Mendelssohn-organ solo
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Organ - Level 4 - Digital Download SKU: A0.549915 Composed by James M. Guthrie. Contemporary,Instructional. Score. 3 pages. Jmsgu3 #3911787. Published by jmsgu3 (A0.549915). In Nomine: A prelude to the St Luke Organ Book (by Daniel Pinkham) for one single organ manual. Subtitled The Little Time Machine, the composition features one iteration of the In Nomine cantus firmus. As the piece progresses, the cantus is treated in medieval, Renaissance, Baroque, classical, romantic, and modern styles. I performed this piece just before the world premiere of Daniel Pinkham's St. Luke Organ Book in 2006.The history of In Nomine is rooted in its origin as a type of contrapuntal instrumental composition by 16th-century English composers, usually for a consort of viols, lute, or keyboard, based on a version of a piece of plainchant. The name In Nomine was adopted for this type of piece after the English composer John Taverner composed an instrumental piece based on the plainchant Gloria Tibi Trinitas to which he set the words In nomine Domini in his Gloria Tibi Trinitas six-voice Mass. Over the next 150 years, English composers worked this melody into In Nomine pieces of ever more fantastic stylistic range. This set a fashion, and several 20th-century composers, such as Peter Maxwell Davies and Roger Smalley, have quoted In Nomines in their works. The In Nomine played a significant role in developing English polyphony. It is a title given to many pieces of English polyphonic, predominantly instrumental music, first composed during the 16th century. The In Nomine was the chief means by which the grand tradition of vocal polyphony was brought to bear on the evolution of instrumental music in England. The In Nomine is considered the most conspicuous single form in the early development of English consort music and is significant in the genesis of chamber music in England. It marked the first time a specific instrumental style was formed, and it influenced the development of English polyphony by bringing the tradition of vocal polyphony into the realm of instrumental music.Despite various attempts by scholars to elucidate its almost legendary origin, the mystery of the origin of the In Nomine remains unsolved.
Guthrie: Organ Prelude on In Nomine
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Organ - Level 5 - Digital Download SKU: A0.890713 Composed by John Pitts. Baroque,Christian,Contemporary,Sacred. Score. 20 pages. Intensely Pleasant Music #3424723. Published by Intensely Pleasant Music (A0.890713). Passacaglia (2000-2012) for Organ - 6 minutes  This piece exists in versions for organ (this one - the original version in 2000) and orchestra (performed by Bristol University Symphony Orchestra under the baton of John Pickard in 2001), and finally a piano duet version completed in 2012.   The theme is based on the ground bass from Bach’s stonking Passacaglia in C minor for organ. However, the implied harmonies of Bach’s original ground bass are treated to some twisted harmonies – where each chord is altered using a system of harmonic substitution - swapping each chord implication for a newly chosen one (Cm=C, Fm=F#, G=A, Dm=A¨, Eb=F and on it goes around the 12 chromatic notes).  Each key therefore has a ‘dominant’ and ‘subdominant’ that are not the actual chords V and IV in that key, so the traditional cadences and chord relationships are supplanted by 12 individual 3-chord relationships – one set of three chords for each of the 12 (now almost exclusively major) keys. In an attempt to recreate the pulls of the traditional tonic-dominant-subdominant relationships, each key then also has a particular mode/scale with particular added notes that are designed to recreate the sense of moving away from and back towards the home chord of that key. This results in a lot of rich added harmonies and some idiomatic voice-leading. Bach’s original theme in Cm is: C G - E¨ F - G A¨  - F G - D E¨ - B C -   F G   - C, and in the opening statement of the ground bass this has become: C A - E F# - A B¨ - F# A - D# E - C# C - F# A - C. There are then 21 variations which modulate through a range of keys, during which the ground bass is constantly re-adjusted to fit the new harmonic areas. It starts in C major, then goes through ‘closely’ related keys (eg A major and A¨ major), and then back to C in variations 6, 9 and 11. This kind of arch then happens again but going through more distant keys before returning to C in variations 18, 19 and the final climactic variation 21. Leaving aside the structural and tonal nuts and bolts, my aim was to compose a piece that attempts to recapture some of the nobility and beauty of Bach's Passacaglia, with rich added note harmonies, and exuding an exuberant joy.
Passacaglia in C (Organ)
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Organ - Level 3 - Digital Download SKU: A0.1117893 Composed by Phil Lehenbauer. Arranged by Phil Lehenbauer. Classical,Contemporary,Holiday,Sacred,Traditional. Score. 8 pages. Phil Lehenbauer #719400. Published by Phil Lehenbauer (A0.1117893). Nun Danket Alle Gott is usually known as the hymn Now Thank We All Our God, sung at many times throughout the church year. This is another in a series of works for the younger or less experienced instrumentalist, with a limited range, easy rhythms, and an easily playable organ part that provides great support to the young player. In addition to the trombone and organ parts, there is a treble clef part provided that can be used by a trumpet, baritone, or tenor sax player. It was written and recorded on a two manual instrument, with the composer playing both parts (thanks to the organ's MIDI recorder). I hope you will feature the younger players in your church!
Prelude on "Nun Danket Alle Gott" (Now Thank We All Our God) for Trombone and Organ, Phil Lehenbauer
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Organ - Level 3 - Digital Download SKU: A0.898551 Composed by Matthew Alan Edwards. Arranged by Matthew Alan Edwards. Baroque,Christmas,Concert,Renaissance,Sacred. Score. 6 pages. Matthew Alan Edwards #4266213. Published by Matthew Alan Edwards (A0.898551). Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-7 !Canzona alla terza Verbum supernum prodiens was composed late one night after I was inspired by the chant melody as found in the Hymnal 1982, hymn 63. Rather than compose on the computer as I usually do, I wrote by hand as I determined the best four-part canonic treatment for each of the phrases of the chant. Composing this was akin to assembling a puzzle, both in mindset (this note fits best here) and addictive quality (need to finish this now!). Originally conceived as a short organ piece, I quickly chose to add the English text from the Hymnal 1982 then text directly from the Liber Usualis, a Catholic book of Gregorian chants commonly used until the reforms of the Second Vatican Council (Vatican II). This piece is similar in style to an Italian Renaissance canzona or early German Baroque kanon. It should be performed with performance practice of those eras in mind, including lifts after dotted notes, metric accents, and minimal vibrato, especially at cadences. It may be performed in alternatum with one of the choral versions (SATB English, SATB Latin, SSA/TTB Latin, or SSA/TTB English) or with a soloist(s) on the chant or as an organ solo. I have provided the first line of chant below and all six verses in Latin with translations on the next page. The SSA Latin version was adapted from the original SATB version for the women of the Hillcrest High School choral program under the direction of Dr. Khristi Motley in Tuscaloosa, Alabama. It reduces the original four-voice setting to three voices without sacrificing any canonic entrances. Either the two-staff or single-staff version may be performed by solo organ. In the single-staff version, stem direction decisions were made primarily for readability, not to show voice leading. Refer to the four-part, two-staff version for voice leading questions.Also available as SSA/TTB in Latin or English. SATB Latin/English versions coming soon!
Op. 7 Canzona alla terza "Verbum supernum prodiens" (Organ solo)
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