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Thanks so much for stopping by, and please accept any of these copyrighted scores, they're a gfit from me to you, for your own personal use.  Cool

A title page, contents page, suggestions for performance, and other helpful information also have been put together for your use [See Below].

These scores may be studied with advantage by comparing them with their descriptions posted on the blog/archive, which also may be downloaded and printed.

Many famous names such as Bach, Franck, Widor, and others, revised their works leaving us with an example to follow.  Some of these 24 scores therefore have undergone revision over time.  The final versions are archived only on this blog.

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If you're an organist there's some free stuff on this page and subpage you can REALLY USE.

Anyone who thinks that, by sampling these pieces, they're going to be subjecting themselves to just another pile of insipid music that isn't worth the ink and paper will find themselves laboring under a serious misconception.

There's a couple of fun "jig" fugues here, a rapid-fire French Romantic toccata paired with a related fugue, an energetic prelude paired with a related double fugue, a multi-sectional north German organ toccata (praeludium) paired with a related fugue, several other stylized works (some with paired fugues), a big set of variations, some nice quiet pieces, a playful pastorale, a spirited processional march, an effective recessional in compound (3/4) time, a postlude (fugue) in the Dorian mode, a shorter stand alone fugue, and a challenging trio that works the entire pedalboard.

There is much, very much to recommend these pieces; it's rather remarkable that they were all composed by someone who made his living his entire life outside the organ world; analyzing these contemporary compositions and the methods employed in their construction would make an interesting subject for a doctoral dissertation. 

All new organ music like this is to be performed with modern piano-based legato technique punctuated with other types of manual touch when appropriate, employing substitution, glissando, and heel-and-toe pedalling [See blog, Touch, Parts I-V, Contemporary Performance]. 

These scores are free to you, every last one of 'em, they're doing all kinds of different things in different ways, they're important for you to have, they'll help you, and you'll have fun with them.  It's a smorgasbord here with something for everyone.  Cool

TWENTY FOUR PIECES Cover Page

Cover page for the 24 scores.

TWENTY FOUR PIECES Contents Page

A listing of the 24 scores by Opus number.

TWENTY FOUR PIECES Suggestions for Performance

Helpful information about the 24 scores and how to perform them.

Praeludium and Fugue in d minor Op. 10 -- See blog/archive [Getting Started With Writing, Parts V, XXII]

This big work dedicated to the memory of my friend Robert Thompson is a multi-sectional north German organ toccata paired with a related 4 voice fugue with 2 countersubjects [165 measures]. Difficult.

Prelude and Fugue in c minor Op. 11 -- See blog/archive [Getting Started With Writing, Parts VI, XIII]

This big work dedicated to the memory of my father consists of an energetic prelude and a bold, 4 voice double fugue which combines both subjects and countersubjects [148 measures]. Difficult.

Pastorale in Ab Major Op. 12 -- See blog/archive [Getting Started With Writing, Part VII]

Dedicated to the memory of my mother, this work has 2 themes, one being playful, which are worked in a variety of canons and combined at the end [78 measures]. Difficult.

Fugue a la gigue in A Major Op. 13 -- See blog/archive [Getting Started With Writing, Part VIII]

Dedicated to my friend Dr. Ausra Motuzaite-Pinkeviciene, this 4 voice "jig" for full organ has 2 countersubjects and an unusual redundant entry in the opening exposition [136 measures]. Difficult.

Trio in Eb Major Op. 14 -- See blog/archive [Getting Started With Writing, Part IX]

This 3 voice study in technique dedicated to the memory of my friend Dr. Karl Webber assigns a single voice to each hand and feet and works the full compass of the pedalboard [84 measures]. Difficult.

Lied in B Major Op. 15 -- See blog/archive [Getting Started With Writing, Part X]

This peaceful work in song form dedicated to the memory of my stepbrother consists of a trio framed on both sides by a 16 bar song tune worked in 4 voice harmony [58 measures]. Moderate difficulty.

Canon in Bb Major Op. 16 -- See blog/archive [Getting Started With Writing, Part XI]

This 3 voice contrapuntal study dedicated to the memory of my friend Dr. Ramon Harris consists of 4 separate 3 voice canons, one of which inverts all 3 moving lines [55 measures]. Moderate difficulty.

Communion in E Major Op. 17 -- See blog/archive [Getting Started With Writing, Part XII]

This quiet communion song dedicated to the memory of my dear friend Anna Koenig works a peaceful theme in ternary (ABA) form using repeat bars, canons, and the inverted theme [57 measures]. Easy.

Choral and Fugue in D Major Op. 18 -- See blog/archive [Getting Started With Writing, Parts XIV, XV]

This big work dedicated to my friend John Weissrock consists of 2 themes each worked in 3 voice canon, then in combination, and a 4 voice fugue with 2 countersubjects [122 measures]. Difficult.

Toccata and Fugue in F Major Op. 19 -- See blog/archive [Getting Started With Writing, Parts XIX, XXIII]

This big work dedicated to my friend Dale Zieger is a rapid fire, French Romantic organ toccata in crescendo style paired with a related 4 voice fugue with 2 countersubjects [161 measures]. Difficult.

Introduction and Fugue in G Major Op. 20 -- See blog/archive [Getting Started With Writing, Parts XIX, XXIV]

Dedicated to the memory of my friend Henri DeKeersgieter, this 4 voice fugue with 2 countersubjects is preceded by a related 3 part leading passage in free form [130 measures]. Difficult.

Fantasia and Fugue in Eb Major Op. 21 -- See blog/archive [Getting Started With Writing, Parts XXV, XXVI]

Dedicated to the memory of my dear friend Rose Kuenne, this 4 voice fugue with 2 countersubjects is preceded by a work in free form which employs material from the fugue [140 measures]. Difficult.