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Meditation on Veni Emmanuel, Op. 170 (Organ Solo) by Vidas Pinkevicius
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Orgue
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FACILE
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Musique Sacrée
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Vidas Pinkevicius
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Meditation on Veni Emmanuel, O
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Vidas Pinkevicius
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SheetMusicPlus
Organ - Level 2 - SKU: A0.1133409 Composed by Vidas Pinkevicius. Contemporary,Holiday,Praise & Worship,Religious,Sacred. Score. 3 pages. Vidas Pinkevici...
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Organ - Level 2 - SKU: A0.1133409 Composed by Vidas Pinkevicius. Contemporary,Holiday,Praise & Worship,Religious,Sacred. Score. 3 pages. Vidas Pinkevicius #733564. Published by Vidas Pinkevicius (A0.1133409). This meditation on the beloved Advent hymn Veni Emmanuel features a calming refrain which alternates with the phrases of the hymn. All the notes in the accompaniment parts are based on the melody of the hymn. The piece explores both E minor and G minor keys before returning to E minor again. The tune migrates from one hand to another for the second verse. It will be a very effective piece for Advent liturgy and/or recital programs whenever contemplative music is desired.
$4.99
Meditation on Herzliebster Jesu, Op. 147 (Organ Solo) by Vidas Pinkevicius (2022)
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Orgue
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FACILE
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Musique Sacrée
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Vidas Pinkevicius
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Meditation on Herzliebster Jes
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Vidas Pinkevicius
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SheetMusicPlus
Organ - Level 2 - SKU: A0.1087061 Composed by Vidas Pinkevicius. Classical,Contemporary,Praise & Worship,Sacred. Score. 3 pages. Vidas Pinkevicius #6912...
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Organ - Level 2 - SKU: A0.1087061 Composed by Vidas Pinkevicius. Classical,Contemporary,Praise & Worship,Sacred. Score. 3 pages. Vidas Pinkevicius #691258. Published by Vidas Pinkevicius (A0.1087061). If you're looking for meditative music suitable for Lent, you will enjoy this Meditation on Herzliebster Jesu, Op. 147 (O Dearest Jesus, What Law Hast Thou Broken). The piece can be played on the organ with two manuals and pedals and it has 3 sections. In the first section, choral melody is presented in the right hand part in the key of G minor, in the second section, chorale appears in the left hand part in the key of A minor and in the last section, the key of G minor returns again with the last two phrases of the chorale as the conclusion. Everything is united with the recurring two measure meditative refrain.
$4.99
Passacaglia in C (Organ)
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Orgue
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AVANCÉ
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John Pitts
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Passacaglia in C
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Intensely Pleasant Music
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SheetMusicPlus
Organ - Level 5 - SKU: A0.890713 Composed by John Pitts. Baroque,Christian,Contemporary,Sacred. Score. 20 pages. Intensely Pleasant Music #3424723. Publ...
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Organ - Level 5 - 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.
$7.99
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