Music for Organ Solo

All Things Bright and Beautiful

Duration: 7'30"
Description: Variations on the hymn tune Royal Oak. The general plan for each variation follows the layout of the hymn tune: refrain-verse-refrain.

The first variation features a canon at the octave in the manuals over a simple 2-voice pedal part.

The second variation is more dramatic, with the first part of the hymn tune disguised but strongly influencing the melodic material. The verse portion of the tune is set in contrasting fashion: repeated bass notes, sustained left-hand chords, right hand playing with fragments of the tune. After a return to the beginning of the variation, the piece moves with a very slight break into

variation 3. It has its own intro, which returns between phrases of the tune (ok--it's a ritornello).

Variation 4 is the loudest, following directly on the heels of the previous variation, almost as thought it's the second half of a variation rather than a variation in its own right. Unlike previous variations, this one doesn't return to the refrain, but heads right into

variation 5. This final variation is softer: sustain notes or slow-moving lines in the left hand; repeated 16ths in the right hand; melody in the pedal on a 4' stop. I also added the zimbelstern, since I had one on the instrument for which I wrote the piece (I may work out a handbell choir part at my new position). The piece returns to a quiet, reflective mood and prepares the congregation (those who are listening!) for worship. To see musical examples visit my blog.

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As a Chalice

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Reflection on Ashgrove

Duration: 4 minutes
Description: A continuous variation set on this familiar tune.

Partita on Beach Spring

Duration: 5'15"
Description: Variation set on Beach Spring.

Beginnings

It starts with a somewhat free-form intro. The last half of the minute-long intro features a pedal solo; this material reappears to conclude the piece. The bulk of the piece is built around a slow-motion chord progression over a pedal solo. This section begins softly and, over the next 4-1/2 minutes  gradually becomes louder. Following the climax the piece returns to the material from the end of the intro and ends peacefully.

At our service, we had people playing a rain stick and a set of untuned chimes. We added these instruments to the main section of this piece. They were a great addition, adding a dramatic element I hadn't planned on! Requires strong pedal chops.

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A Carol Prelude

Duration: 3'30"
Description: I tried to write this piece in 2002, beginning with a setting of God Rest You Merry, Gentlemen, but the piece didn;t go any farther. I wanted a medley of a few familiar tunes, but it was easier to just pick some out of the hymnal and improvise, rather than write the music down. This year I revisited my earlier work, and added on a bit.

The  piece new begins with a short intro based on the refrain of Gloria (see also A Christmas Toccata, which is a working out of this same material--before I wrote Carol Prelude). Following the intro, the piece presents O Come, All Ye Faithful, in a bright, rhythmic setting.

This leads, with a hint of the intro, right into the earlier, unfinished setting of Gentlemen...with a difference. There's now a canon in the manuals over a slow-moving pedal line (based on portions of O Come, All Ye Faithful, here presented modally). This section has its own introductory material (probably due to its earlier existance as an obstensibly stand-alone movement) which also recurs at the end to help the transition to Joy to the World.

As this final section begins, introductory material based on Joy allows time for building up the registration. The tune comes in in the left hand with a solo reed or other strong registration. A tonic pedal point is occasionally embellished with scalar passages, but always returns home. The right hand also sports a tonic pedal point as well as a faster moving line that often has a flat 7th degree. This undermines the tonic, suggesting it might be a dominant 7th, except that the pedal points keep coming back. For you theoretical types, the flat 7th was formerly the tonic of the preceeding two sections.

The piece closes out with a return to the opening introductory material, interrupted by playful citations of the beginning of Angels We Have Heard on High and the refrain of Joy To The World (both begin the same).A couple of attempts to close out Joy to the World bring the work to a rousing close.

Dynamically the piece is in aba form (loud, soft, loud). Reasonably strong pedal work is required, particularly in the center section, where the pedal maintains two slow-moving lines simultaneously. It's tempting to think about writing a couple of companion movements...

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Christ is Risen

Duration: 3 minutes
Description: A hymn medley of five Easter hymns. Since the churches I have served recently have spent little time with Easter music (the Easter season gets truncated down to a week or two) this is a favorite with congregations hungry for the familiar Easter tunes they know and love.

Toccata on a French Carol

Duration: 3 minutes
Description:

Variations on a French Carol

Duration:
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Toccata on He Never Failed Me Yet

Duration: 1'30"
Description:

I Want to Walk as a Child of the Light

Duration: 4 minutes
Description: Chorale prelude on Houston. The left hand provides accompaniment (the eighth-note figuration versus the sustained notes in the same hand is annoying to learn, but fits the hand pretty well; just when it's going well, the eighth notes move from below the sustained notes to above! I had a little talk with myself about that...). The pedal should not use any 16' (think cello or bassoon). It actually makes a duet with the right-hand melody for much of the piece.

Partita on Immortal, Invisible

Duration: 8'20"
  I: 45"
  II/III: 1'35"
  IV: 1 minute
  V: 2'10"
  VI: 1'50"
  VII: 1 minute

Description: A set of seven variations on St. Denio. The first 4 were written in 1980 and are primarily a transcription of an improvisation. The last three were written in 2005, when I wanted a more substantial pre-service prelude (the duration of the first four is 3'20"; the last three offer an additional 5 minutes!).

This set works well on small instruments as well as larger. The first movement uses only a 4' flute; the second adds an 8' flute; the third, which flows directly from the second, gets fuller and sees the first use of pedal (doing the hymn tune). The fourth is fuller yet, with a flowing, somewhat chromatic constantly descending bass line under slower-moving chords with some chromatic material.

The fifth returns to a softer sound, with a slowly-evolving left-hand ostinato and occasional supporting notes in the pedal against a lyrical free melody based losely on the hymn tune. The sixth movement returns to a fuller sonority, with dramatic fragments based on the tune interrupted by a softer cadenza. The final movement recaptures the softer mood and prepares for the ensuing worship service, with a slow-moving pedal, melody in the left hand, and slow chords in the right.

In Memoriam

Duration: 3'30"
Description:

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Partita on Jesus Loves Me

Duration: 2'40" (3'45" with optional DS)
Description: A simple, improvisatory variation on this familiar tune. I commented on the piece here.

pdf score and mp3 sound file

Variations on Kumbaya

Duration: 3'30"
Description: Our children's choir, supported by the chancel choir, was scheduled to sing an arrangement of Kumbaya by composer Teresa Jennings. It's a nice arrangement, with a gently swinging African-inspired accompaniment. Although the musical material of my piece makes no mention of Ms Jennings piece, it was the inspiration for my variations.

Like Teresa's piece, mine has repetitive elements that pay homage to Africa. The pedal part, which I had intended to be easy, only uses five pitches, and repeats every measure, with slight changes to fit the harmonic flow. The melody unfolds at a slow pace, taking twice as long as one might at first expect. That said, this is a lively piece with a strong buildup. I've played it on both a two- and a four-manual organ: it adapted easily to both, and was exciting to play on both.

The theme is never simply stated, although it is pretty clear, if you know the tune, that it forms the foundation. Each of the three statements varies both the melody on a macro level and also previous accompanying figures on a micro level. While strong pedal technique is not required, a strong rhythmic feel is; some ability for independent movement of the feet is very helpful. Overall difficulty level is medium.

McKee Variations

Description: Like the Passacaglia on Spirit, this work was originally envisioned as a way to strengthen congregational singing of a--for this congregation--new tune. The first movement I wrote was what ended up being the Finale. Becuase I didn't intend any other movements, it has both a loud, bolder section (the A material) which occurs on either side of a softer, more meditative section (the B material). I thought that the ABA form would be pretty complete. It gave me the opportunity to play with the tune in two different environments, and gave the congregation several opportunities to hear the tune.

I was surprised when I decided that at least a softer introductory piece was needed. This intro, based on a two-measure chord progression that repeats throughout the entire movement, would give a better lead-in to the A material of the next movement. It also allowed me to put the melody in the pedal, a device I enjoy doing. The pedal solo is the B section of this movement, with an unadorned statement of the melody in the right hand making up much of the surrounding A sections (again, an ABA form). During the B section, the right hand presents the melody in a somewhat free canonic form, making a rather neat duet, even if I do say so myself!

But wait! No sooner was this movement nearing completion than I thought of another way to start things off. So my intro became a Meditation, and this new material, which I thought of as an overture, became the actual first movement. Unlike the other two, it is not in ABA form, although it does bring back the opening material twice more in different key areas, so that there is a loose A A' A' form. What I find most interesting is that there is no clear statement of the melody, although there are plenty of fragments (after all, I had just written two other movements with plenty of statements of the hymn tune--I wanted something different!). Even though it is the first movement that the congregation hears, it leads to the next movement for a clear statement of the tune.

In keeping with my preoccupation with ABA form, the three movements together hint at this form, with the first and third being louder and more energetic, and the second quieter and more reflective. One result of writing what became the first two movements was that, as I played over the Finale, I found that I wanted to do something more with a couple of the statements of the melody. I started swinging part of the A statements, saving the more complex statement for the second A. It's a modest homage to the African-American roots of the tune.

The three movements make a nice, extended--if somewhat dramatic--prelude, or can function as prelude, offertory, and postlude (although my congregation wants more than two minutes of prelude!).  Overall, this is a somewhat challenging work.

Suite on Norwegian Folk Tunes

Duration: 9'30"
Description: This five-movement set of works on Norwegian folk tunes used as hymn tunes was requested by my cousin Michael Moreskine, himself an organist and composer. In addition to having served a Norwegian churchin San Francisco, he spent the 2005-2006 year working as a church musician in Sandnesjoen,Norway. He wanted a set of pieces that he could use as both a concert work (having in mind an organ dedication in San Francisco) and individual preludes to the hymns using the tunes I wrote on--especially if my settings used minimal pedal.

That latter requirement caused me the greatest difficulty, followed by my lack of familiarity with the tunes (which are quite wonderful to work with). Still, the piece worked out pretty well, being particularly effective on instruments that have some reasonable contrast in registrations possible.

I. Introduction and Promenade

Tune: 850 [Heddal: Hvor er det godt å lande]
Tune: 808 [Vang I Valdres: Se, solens skjønne lys og prakt]
Key: F to C
Pedal: Some pedal
Duration: 3 minutes

II. Toccata

Tune: 808 [Vang I Valdres: Se, solens skjønne lys og prakt]
Key: C
Pedal: None
Duration: 1’30”

III. Interlude

Tune: 844 [Heddal: I himmelen, I himmelen]
Key: G
Pedal: None
Duration: 50 seconds

IV. Meditation

Tune: 268 [Romedal: Herre Gud, ditt dyre navn og aere]
Key: F
Pedal: None
Duration: 1’10”

V. Finale (Hi Fra Norge)

Tune: 850 [Heddal: Hvor er det godt å lande]
Tune: 844 [Heddal: I himmelen, I himmelen]
Tune: 244 [Heddal: Den store, hvite flokk]
Key: A to C
Pedal: Substantial pedal
Duration: 3 minutes

Quodlibet on Olivet and Battle Hymn

Duration: 3'10"
Description: I recently played a memorial service, where I was asked to play My Faith Looks Up To Thee (Olivet) and Battle Hymn of the Republic (Battle Hymn). I didn't want to just play one hymn, then the other (with at least one verse of the former played on the chimes, per the widow's request--looking back toward the couple's wedding decades before), although a nice buildup would have been possible, moving from Olivet's reflective character to the more robust Battle Hymn. I was in a compositional mood, having completed my Kumbaya variations earlier in the day, so I sat down at the computer to play--and found some interesting ways to combine the two tunes. Each appears by itself (although Battle Hymn's main appearance is softly accompanied by Olivet).

Following a quiet opening presentation of Olivet, with the melody on chimes, a transition on Olivet increases in volume to the second section, where both tunes are present. An excerpt of Battle Hymn starts in the manuals, against Olivet in the pedal. The tunes reverse locations, with the section closing with a transition similar to the one ending the previous section, except that the material is drawn from Battle Hymn.

The third section is more reflective, with a complete statement of Battle Hymn in the left hand, and an accompaniment based on Olivet in the right hand. A brief closing statement of Olivet is followed by the first section transition into closing material from the refrain of Battle Hymn.

While I consider this work to be more functional than some of my other pieces--written for a specific memorial service to meet specific needs--it may well have broader appeal. There is almost no variation of the tunes; harmonies stick pretty close to familiar versions of the hymns; the combination of the two hymns works very well--it doesn't require a great deal of focus to hear the two tunes as they play off each other. Listeners who didn't know the history of the combination liked the work. If I don't have it posted on my web site, be sure to ask me for it.

Reflections for Organ

Duration: 3'30"
Description: Lurking in the background, but never fully stated, is "How Great Thou Art." The "for Organ" part of the title is there because I earlier wrote a similar reflection for piano (although they are actually two totally separate pieces). The left hand and pedal provide accompaniment. If you have three manuals, the right hand can alternate between louder and softer solo sounds. With only two manuals, the accompaniment manual provides the softer sound.

Toccata on Shout to the Lord

Duration: 4 minutes
Description: This work was written to serve as the postlude for a service featuring the Praise Team. I wanted some organ presence, but in a way that complemented and supported the guitar-based instrumentation of the team. Shout to the Lord (words and music by Darlene Zschech) was our closing song.

With the exception of one section where the right hand has the melody, the right hand arpeggiates chords, always between E4 and E5, while the left hand acts as continuo, with a simple repetition of the chord (somewhat reminiscent of the Widor 5th--but only slightly). This adds an interesting, if somewhat subtle, pedal tone, as an E always happens on beats 1 and 3 (the piece is in 4/4 and in the key of A Major; the E fits the I and V chords perfectly, and adds a 7th, 6th or 2nd to most of the rest of the chords).

The melody, in augmentation, occurs almost completely in the pedal. It's a fun romp, with enough tricky coordination issues (mainly rhythmic) to provide some spice. It was well received by the congregation.

Dance Procession on Simple Gifts

Duration: 2'30"
Description: Written for a celebration service with dancers in procession, this work starts quietly and builds to full organ. I think I had Ravel's Bolero in mind when I wrote this. It can be easily extended and, while it might stand on its own in a concert setting, a visual collaboration works very well.

Soli Deo Gloria

Duration: 3 minutes
Description:

Passacaglia on Spirit

Description: This work was written for a service where we were scheduled to sing James Manley's folk hymn Spirit. We wanted the congregation to at least have the tune in the back of their minds...thus this piece, which served as Prelude (It's a good choice for Pentecost).

An 8-measure bass pattern based on the tune--reminiscent of the start of Pachelbel's Canon, is treated in typical Baroque passacaglia fashion (including a section where the bass isn't actually in the bass, but the chord progression continues anyway). Medium difficulty; builds to a big conclusion.

Toccata on We Are The Church

Duration: 3'30"
Description: A fun, upbeat postlude based on themes from a musical setting of Avery and Marsh's We Are The Church by California composer Greg Murai.

Meditation on Were You There

Duration: 1'30"
Description: An arrangement for organ of an earlier work for oboe and piano. The pedal solo covers the oboe part.