Label: Net Records - 1005 • Format: Vinyl LP • Country: US • Genre: Folk, World, & Country • Style: Gospel, Religious
Oh Shenandoah is an American folk tune from the early nineteenth century. While some associate the songs with the Shenandoah region of Virginia and West Virginia, the lyrics mention the Missouri river much further west. See a list of other potential traditional song themes here. See a list of other hymn and Organ Improvisation - The Redeemer Choir - Gods People Give Thanks themes here. Starting a new year often involves setting goals and renewed energy to work on projects that may have fallen by the wayside.
My plan for is to send out at least two emails a month with resources or ideas to help you become a better improviser. InJeffrey Brillhart gave us Breaking Free. It is a very thorough and progressive resource for developing a personal musical language drawing inspiration from many of the 20th-century French masters. In my review of the bookI lamented the lack of specific tasks for the student.
Just before Christmas, I received a new book by Jeffrey Brillhart that clearly addresses that concern. Each unit provides an exposition of material to cover and specific assignments for the student to improvise in order to master the material. Even in the first eight units where tonal language is the primary material, a form is given for the assignment. The result is that one is almost always improvising a complete piece that might be performed in front of an audience or used in worship!
In Breaking Freeform is reserved for the last few chapters and discussed very broadly. Brillhart breaks down the structure of each of the pieces and identifies elements for students to include in their own improvisations. Other middle units cover versets, the acoustic scale, shifting modes, improvising on emotional states, visual images, text and variations.
Organists seem to be a rare breed these days. Those who improvise in public are even rarer. Those who understand improvisation well enough to teach it well seem to be the rarest of the rare. Jeffrey Brillhart demonstrates with A World of Possibilities that Le Chateau Des Grisailles - Michele Torr* - Donne Moi La Main, Donne Moi LAmour is indeed a master teacher of improvisation.
The material is dense, and you will need a copy of Breaking Free in order to take full advantage of A World of Possibilities. A simple assignment instruction, perhaps only one sentence, might take a week of practice to explore and master. The organization and structure of the book however make sure that if you spend the time, you will become a better improviser and be prepared to tackle the next assignment.
If you are looking for a way to track your progress and improvise better inI can think of no better way than to pick up Organ Improvisation - The Redeemer Choir - Gods People Give Thanks two books by Jeffrey Brillhart and get to work. Happy improvising, Glenn Osborne. Virtually all the pieces were transcriptions of works for piano or harpsichord. Mechler did a brilliant job of adapting them to the organ.
By using the full range of resources available to him at the Cathedral organ, he turned the pieces into orchestral works. He used a multitude of solo and ensemble colors and progressed smoothly from soft whispers to furious fortes. The day after the concert, Mechler offered a masterclass on improvisation at Peabody.
He worked with students at the beginning, intermediate, and advanced level. Because of my background, I was asked to serve as the advanced student:. For beginning improvisation, he stressed simplicity and freedom so that the student can Soulfull Od Man Sunshine - The Beach Boys - Landlocked (The Unreleased 1970 Album & More) inspired and develop a positive attitude towards improvising.
As a student acquires more skill, more specific tasks and more complicated forms can be tackled. Even as an improvisation teacher and the advanced student for the class, I came away with items to practice. You can hear his ideas and how I did as a student in the two YouTube videos I Dovregubbens Hall (In The Hall Of The Mountain King) - Edvard Grieg, Bergen Philharmonic Orchestra my time on the bench: Part 1 and Part 2.
It was inspiring for me to be back on the bench as a student again. It is my belief that we are never too old to learn new things. After almost a year of silence here, I plan to resume sending out regular newsletters with helpful resources about improvisation. One of my dreams has been to organize a day improvisation workshop.
The time I spent with Thierry Mechler reminded me of how important it is to be 1107 - Magnosis - Progressive Sensations (File, Album) student.
Perhaps I can finally make that dream a reality in He did publish several hymn texts but there is no evidence that he wrote any hymn tunes. Ride On in Majesty! I normally do the re-harmonization techniques. Apart from that, what other techniques can you suggest for me.
What does he do in these two settings that we could apply Organ Improvisation - The Redeemer Choir - Gods People Give Thanks other tunes for a thrilling ending? In the final verses by David Willcocks, he starts with the melody in octaves: If you have a congregation that sings in harmony, this gives everyone an auditory signal to sing the melody. Unison singing is also typically louder than singing in parts. With a strong organ registration and strong unison singing from the congregation, this gets our final verse a solid start.
In The First NowellDavid Willcocks moves Organ Improvisation - The Redeemer Choir - Gods People Give Thanks to using a pedal point after the unison beginning: Pedal points build tension and anticipation by the changing harmonies above the anchor note. The best pedal points tend to be the dominant of the key. In The First Nowellthis is the A held through the entire second phrase of the hymn. The D dominant of G is held through the first two phrases of the refrain with a little rhythm to energize it when the melody phrases.
While it is possible to create some extravagant final verses through re-harmonization, there are virtually no accidentals in The First Nowell. While my first idea was to suggest using diminished seventh chords as in O Come All Ye Faithfulwhen I started comparing the two, I realized it was the descant above the melody that makes the final verse soar. Until the refrain of The First Nowellthere is no one singing a descant, but the organ abandons the melody and moves higher many times throughout the verse.
Here then is where our real improvisation practice begins. How many other melodies can you create while using the same harmonies as a given hymn tune? If you can do this while changing the harmony as well, you will be in good shape to create a true extravaganza for the last verse. In addition to compositions for Advent and Christmas, it includes several improvisations. You can find it on iTunesAmazonand Spotify. If you have been a long time subscriber, you may recall a short series of articles on modeling Tournemire.
The Advent Suite included on the recording Various - Best Dance 1 2001 a result of those newsletter issues. If you missed them, check out Issue 50Issue 51and Issue Newsletter Issue 70 — 12 See the complete list of past newsletter issues here.
Composed by William Jonesthis tune in Common Meter has been published with numerous texts. See a list of other popular hymn and chorale themes here. Glenn Osborne — Improvised Toccata on St. Stephen — Cathedral of Mary Our Queen. What a fabulous conference at the University of Kansas! Five organists played a Mass in alternation with a chant schola. Here was truly a program in alternatim. No player played twice in a row, and improvisations alternated with repertoire. In between the movements, the chant schola from Our Lady of Guadalupe Seminary in Denton, Nebraska, under the direction of Nicholas Lemme provided exquisite chant.
I have heard that the AGO intends to release videos from the conference over the next year. I certainly hope they include this unique concert soon. This was apparently the first time all three organists from Notre Dame have played on the same program outside of Paris ever. In an opening presentation to the conference, Michael Bauer asked what makes French pedagogy different. Is there anything specific or unique to the French system of training organists that carries across styles, time periods, and even teachers that sets it apart from the way organists are trained in the US, Germany, or other countries?
There were panel discussions probing the French organists on their teachers and their own teaching methods, as well as presentations on the approach of Marie-Claire Alain and the conservatory system in France. Because of the time I spent studying organ in both the United States and in France, I believe I came up with an answer by the end of the week. This includes multiple years of harmony, counterpoint, and eventually the possibility of composition.
To complete a college degree in music in the US, students generally have two years of music theory classes. In these two years, students cover basic notation, sight-singing, harmony, counterpoint, and analysis for all periods of music history from early to the most recent. Some students or schools may continue into a third year of required studies. I had composition lessons and had breezed through the theory classes I had taken in the US.
When I took a placement test in France, I ended up in first year harmony! Now, I found it very easy and probably could have placed into second year with a little coaching, but harmonizing melodies in four-part open score with C-clefs! The French Conservatory system has a system of three cycles for each discipline. The first cycle is a beginner; second level is intermediate; third level is advanced.
Each cycle generally takes years to master. During my time in France, I was able to complete the first cycle of harmonie. Even City Life - Stinky Toys - Plastic Faces, I wish I could complete the final levels of harmony and counterpoint from the French system. Many Organ Improvisation - The Redeemer Choir - Gods People Give Thanks them completed their studies in these disciplines before they earned their organ or improvisation prizes.
If you had six or seven years of harmony and counterpoint classes, how much better would you be as an improvisor? Even for playing repertoire, how much more insight could you have on the construction of a piece if you had to write similar passages while studying harmony and counterpoint? Pen and paper exercises develop not just the knowledge of music theory, but also the inner ear.
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