Organ - Easy SKU: JK.01927 Composed by Various. Arranged by Brent Jorgens...(+)
Organ - Easy
SKU:
JK.01927
Composed by
Various. Arranged by
Brent Jorgensen.
Christian, Contemporary
Christian, Gospel,
Inspirational. Jackman
Music Corporation #01927.
Published by Jackman
Music Corporation
(JK.01927).
UPC:
093285019270.
The
Temple Organist is a
series of hymn
arrangements designed to
support the sacred
reverence found in
temples of the Church of
Jesus Christ of
Latter-day Saints. The
songs selected for the
two volumes have been
taken directly from
approved lists of hymns
appropriate for temples.
The arrangements in this
volume, like volume 1,
are arranged to include
the harmonizations from
the 1985 hymnal, with a
variation that follows in
most cases. True to the
style of Orgain Chains,
they include interludes
to connect each hymn so
they can be played
consecutively (including
modulations that bridge
different keys
beautifully). You will
enjoy serving temple
patrons as you play these
simple, contemplative
hymn
settings.
Cont
ents Include: Oh, May
My Soul Commune with
Thee Nearer, My God,
to Thee O My
Father I Need Thee
Every Hour Jesus,
Lover of My Soul More
Holiness Give Me Guide
Me to Thee Did You
Think to Pray? Sweet
Hour of Prayer How
Gentle God's
Commands Where Can I
Turn for Peace? Be
Thou Humble Dearest
Children, God Is Near
You Be Still, My
Soul Lead, Kindly
Light Sweet Is the
Peace the Gospel
Brings O Love That
Glorifies the Son God
Loved Us, So He Sent His
Son How Great the
Wisdom and the
Love With Humble
Heart Jesus, Once of
Humble Birth In
Humility, Our
Savior There Is a
Green Hill Far Away I
Stand All Amazed Sweet
Is the Work Come,
Follow Me Love One
Another Dear to the
Heart of the
Shepherd Lord, I Would
Follow Thee Composer:
VariousArranger: Brent
JorgensenDifficulty:
Easy.
Organ SKU: HL.49033290 Organ. Composed by Jean Guillou. This editi...(+)
Organ
SKU:
HL.49033290
Organ. Composed by
Jean Guillou. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Composed 1958.
Op. 4. 32 pages. Duration
18'. Schott Music
#ED9789. Published by
Schott Music
(HL.49033290).
ISBN
9790001137652. UPC:
884088070557.
9.0x12.0x0.21
inches.
As its
title indcates, this is a
miniature symphony, its
structure compacted as
much as possible. The
classical form is
respected, dwon to the
smallest details, so that
the various development
sections lead to a
recapitulation of the two
themes and to a more
asservative conclusion.
Throughout the work the
style is extremely sparse
and straightforward. The
nostalgia expressed by
the theme of the second
movement leads us towards
effects of perspective
that modify the light
thrown on the melody, at
first distand and soon
more insistent, more
dominant, before dying
away in the gentle
mist.The third movement
is somewhat facetious and
sly. Despite its
brilliantly luminous
progress, the ending is
nostalgic, whimsical and,
once more, humorous.
Confluence Orgue - Avancé MorningStar Music Publishers
Organ - Advanced SKU: MN.12-121 Composed by Joseph Willcox Jenkins. Non H...(+)
Organ - Advanced
SKU:
MN.12-121
Composed by
Joseph Willcox Jenkins.
Non Hymn-Based, Recital
Music. MorningStar Music
Publishers #12-121.
Published by MorningStar
Music Publishers
(MN.12-121).
UPC:
688670121210.
Confl
uence was commissioned by
the Organ Artist Series
of Pittsburgh in
celebration of its
twentieth anniversary in
1999. Christa Rakich gave
the premier at the
closing concert of the
season at Calvary
Episcopal Church by in
April of 1999. It has
been performed frequently
since that time. The
title was given to honor
the joining together or
confluence of the three
rivers of Pittsburgh: the
Allegheny, the
Monongalela, and the
Ohio. Confluence is a
curious hybrid related to
both the sonata and rondo
forms. It is of the ABABA
design with the final A
quite extended by
polyphonic games and a
very noisy and triumphant
epilogue. The first idea
is driving, rhythmic,
nervous and agitated. The
second is quiet, gentle
and pastoral, that slowly
moves in its mysterious
ways, closing with a
plaintive row of a dozen
different pitches. The
composer delights in the
challenge of making tone
rows as approachable and
sing-able as possible.
Both ideas make slightly
varied restatements. At
the end, fugal
exploitation of the first
idea is followed by that
row, entering with
stentorian grandeur in
full pedal, heralding the
triumphant close. This
row, like the month of
March is referred to
frequently as coming in
like a Iamb, going out
like a lion.