A simple arrangement of the classic HIt is not only because of Gershwin\'s enthusiasm for the organ that his
\'3 Pré.ludes\' virtually suggest themselves to be performed on the organ. They are preludes in a traditional style, character pieces with idiomatic jazz figurations and exciting harmonies. Therefore it is certainly appropriate to use these miniatures in churches and especially in organ concerts. Jazz music on the church organ? Why not! Although notated jazz music is not real improvised jazz music, Gershwin undoubtedly influenced jazz (Miles Davis, Herbie Hancock), and his preludes are a valuable addition even to the organ repertoire.erbie Hancock \"cool\" tune. The melody get\'s passed around the quartet and allows for improvisation, with a Bass Trombone and 1st Trombone solo in the middle. Aimed at amateur ensembles with an intermediate range, with solos that explore the harmony of the tune without getting too crazy.

As recorded by Super Bone on YouTube.

Beautifully laid out in A4 size, the score and parts are easy to read and available NOW for digital download. We suggest you print on 80gsm paper, to ensure that the copies last longer in your bands library. If you\'re printing on letter size paper, please fit to page when sending to the printer.

The present volume of 12 Motet Intabulations complements the 3 volumes .already published .with organ music by Heinrich Scheidemann (around 1595-1663), so that the complete organ oeuvre of the organist from Hamburg is now available in a modern editorial standard. From 1611-1614 Scheidemann studied with Jan Pieterszoon Sweelinck in Amsterdam and from 1629 worked as an organist at St. Catherine's in Hamburg for about three and a half decades. He amalgamated the style of his teacher with North German tradition and is thus regarded as co-founder of the North German Organ School. For a long time, the skill to transfer vocal compositions into finger notation had been one of the main demands on a competently trained organist. At the beginning of the 17th century, however, the rather technical 'intabulation practice' faded into the background in favour of innovative forms of arrangement of the sacred cantus firmi. To Scheidemann belongs the credit for helping the genre tradition, which had unmistakably been in decline, to experience a late revival with his Motet Intabulations and for virtually erecting a glorious monument of excellent artistic quality to this type of composition &ndash. an important document in the history of organ music, and an interesting addition to the organ repertoire.

Buxtehude's organ music fascinated J. S. Bach and generations of organists ever since. Our new edition in the renowned series 'Masters of the North German Organ School' is based on the original version while taking the latest findings of the Buxtehude research into account. Vol. 1 contains 18 Preludes (pedaliter), Vol. 2 three toccatas, 1 preambulum, 2 ciacones, 9 canzonas and 3 fugues.

German - English.

Volume 13 of the series 'Meister der Norddeutschen Orgelschule' contains all organ works by Nicolaus Bruhns. Bruhns studied with Dietrich Buxtehude and, from 1689, was cathedral organist in Husum.

German - English.

Band 9 der Reihe Meister der Nordeutschen Orgelschule enthalt 9 Magnificat-Zyklen von Heinrich Scheidemann (um 1595-1663). Scheidemann studierte 1611-1614 bei Sweelinck in Amsterdam und wirkte ab 1629 rund dreieineinhalb Jahrzehnte als Organist an der Kirche St. Katharinen in Hamburg.

The dance is introduced in 6/8 against 2/4 time, before the exposition of a festive theme that alternates bouncing light passages with percussive chords. A more lyrical central episode precedes the recapitulation. The Basque fandango ends always with another dance step: 'Arin Arin' in 2/4, which is here .characterized by scales, continuing the piece's joyful and vivacious character.