About This New Music

The original scores for Organ listed on this page are grouped into 5 major collections and include suggested registrations and hand division.  The stretch for either hand is kept at an octave or less.

It bears repeating that organists are always interested in new material to learn and play.  The Covid-19 pandemic however has caused many places where organists meet and work to either close or curtail normal activities.  This has had consequences relative to the income of musicians, and in this new economic environment any new material needs to be made as cost-effective for musicians as possible.  Accordingly, these pieces are not for sale.  They are being offered free of charge to organists for downloading and printing as a courtesy and gesture of appreciation for all they do, and as a reward for visiting this web site ... and is NOT to be interpreted as a devaluing of the compositions of others or as a universal example that all composers should be following.  It's important for the public to understand that making music is work:  musicians earn every penny of their salary and every fee they need to charge to promote their art and serve their audiences.

NOTICE:  It's debatable but nevertheless true that a creative artistic endeavor cannot become a lasting work of art if constructed from a place far outside the box.  Far outside the box there's no reality there, no means of production, no rules to bend or break like an artist, nothing to work against, no sane and solid, battle-tested principles to carry into new territory, no patterns to follow known to satisfy the ear as music.  This new music was constructed instead from a place along the edges of the box where bold moves can be incorporated into the writing to move the art forward and still make sense to the ear, requiring no explanation to listeners as to what they just heard.  This type of writing is perhaps best described as what it isn't.

It isn't strange-sounding or incomprehensible.

It isn't something that leaves the listener waiting patiently through an ongoing cacophony of sounds and rhythm changes for something, anything, that makes some kind of musical sense.

It isn't something that speaks in an aberrant, eccentric, erratic language devoid of warmth and meaning to an audience.

It isn't unconventional, outlandish, or unsettling enough to expect to win recognition for contemporary compositional excellence as currently interpreted.

It isn't something that relies on an inflexible double fortissimo decibel level and hyperexcitable beat for its appeal.

It isn't something written with its supreme objective being the creation of an immediate smash hit which can be mass marketed for profit.

For those drawn to any of these things, this music is probably not for them, but for all the rest it will be found satisfying, enjoyable, interesting, and possibly useful.