Are you wondering what kind of organ music selections are suitable for Bachelor's organ degree recital? In this article, I will give you a list of pieces by Buxtehude, Bach, Handel, Vierne, Langlais, and Franck.
1. Praeludium in C, BuxWV 137 by Dieterich Buxtehude. One of the most famous of all of Buxtehude's organ works will serve well for the opening of your recital. This is a perfect example of multi-movement North German Baroque Stylus Phantasticus writing. This work is also known as Prelude, Fugue, and Chaconne in C major. 2. Chorale Prelude "Komm heiliger Geist, Herre Gott", BuxWV 199 by Buxtehude. This is an ornamented chorale prelude - a perfect example of Buxtehude's style. This piece will make a good contrast with the preceding and following pieces. 3. Prelude and Fugue in G Major, BWV 541 by Johann Sebastian Bach. A joyful prelude with elements of Ritornello form. You will find a complex Stretto section towards the end of the fugue. 4. Chorale Prelude "Nun komm' der Heiden Heiland", BWV 659 by Bach. A very famous chorale prelude from the collection of Great 18 Chorales (Leipzig Chorale Preludes). Slow tempo and fascinating ornamented chorale melody in the right hand part. 5. Trio Sonata No. 1 in E flat Major, BWV 525 by Bach. This is the easiest of all of 6 trio sonatas by this composer. However, the organists will still encounter many technical challenges which have to be overcome at the Bachelor's degree recital. 6. Organ Concerto Op. 4, No. 5 in F Major, HWV 293 by George Frideric Handel. This is the shortest of 6 most famous organ concertos by Handel. It consists of four contrasting movements: Larghetto, Allegro, Alla Siciliana, and Presto. 7. Allegretto, Op. 1 by Louis Vierne. A rarely performed early work of Vierne of moderate difficulty. Nice ABA form with charming oboe melody in the right hand. 8. Meditation from the Suite Medievale by Jean Langlais. Very colorful French style modal writing. Slow tempo makes it a wonderful preparation for what is coming next in your program. 9. Chorale No. 3 by Cesar Franck. This is perhaps the most famous and the easiest of all of 3 chorales of Franck. A perfect closing piece for your recital - very dramatic work with a beautiful slow middle section. Take any or all of the above pieces and start practicing for your recital today. The compositions from this list constitute a recital of approximately 1 hour of duration which is an optimum length for organ recital. They provide a welcome variety in character, mood, tempo, mode, keys, and registration for positive listener experience. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my free Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading.
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One of the best-known organ chorale preludes by Johannes Brahms, Herzlich tut mich verlangen, Op. 122 (6/4 meter) can be considered a beginner level organ piece. It is easy to play because of very slow tempo, straightforward pedal line and lack of imitative polyphony. Its gentle but sad character can make a nice contrast in your organ recital if you play it between two louder and/or faster pieces. In this article, I will give you 5 tips on how to learn this chorale prelude.
1. Repeated notes. There are several half notes which are repeated in the chorale melody in the pedal part. According to the tradition of legato playing technique, repeated notes should be shortened by an exact rhythmical value. Shorten these notes by the smallest most frequently used rhythmical value in this piece (unit value). This would be a sixteenth note. It means that you should make a sixteenth note rest. The repeated notes in the left hand part should be made shorter by a sixteenth note. 2. Pedal preparation. It is best to automate your pedal playing in this piece by applying pedal preparation technique. For example, as soon as you release a pedal played by the right foot, immediately slide this foot with a quick motion in the position for the next note and let it wait there. The same applies for the pedal preparation in the left foot. 3. Lean on dissonances (harmony). Not all notes are considered equally important in this piece. The most significant notes in the Romantic music tend to be the ones which form a dissonant chord. A dissonant chord consists of dissonant intervals, such as any second, seventh, diminished and augmented intervals. In this case, emphasize the chords which have four or more chordal tones and chromaticisms. In other words, lean on dissonances by coming in a bit late or holding them a bit longer. 4. Long melodic lines. A signature by Brahms are his endless melodies, somewhat similar to those of Richard Wagner. The difficult part of performing long melodic lines is that you can't take a breath in the middle of the line. Instead, use your mental focus by seeking the end of that line. Do not stop mentally in the middle of the phrase. Also try to count out loud the parts of the measure. In this way, the long melodies will have a purpose and direction, and listeners will be able to follow and appreciate the lines. 5. Registration. Since the dynamic level of the manual part is piano, you should use several 8' stops combined. It is best to play the middle part on the secondary manual. The chorale melody in the pedals should be based on the 8' stop. Do not use 16' in the pedals here. Instead, choose a soft 8' reed or 8' principal with or without 8' flutes. Use these tips when you practice the chorale prelude Herzlich tut mich verlangen, Op. 122 today. For best results, try to be very precise in executing every detail, such as repeated notes, using pedal preparation, and emphasizing the dissonant chords. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Are you struggling in learning one of the best known organ works by Felix Mendelssohn, Sonata No. 6 in D Minor, Op. 65? In this article, I will give you 5 tips which will help you learn this composition.
1. Repeated notes. One of the most important elements in the performance of the Romantic organ music is the issue of the repeated notes. Whenever you see the repeated notes in this composition, you have to shorten them by the unit value. For example, if the most common rhythmic value (the unit value) in the last movement is an eight note, try to shorten the repeated notes exactly by an eighth note. If the eighth notes are repeated, it is best to shorten them by half and playing a sixteenth note with a sixteenth note rest. 2. Registration. Mendelssohn wrote in the preface of his 6 sonatas that for him fortissimo means a full organ, pianissimo - soft 8' stop alone, forte - great organ without some of the loudest stops, piano - several soft 8' stops combined and so forth. In the pedal you should always use 16' and 8' stops together unless indicated otherwise. 3. Tempo in the toccata (the last variation of movement I). Although many organists love to play this toccata very fast, I recommend avoiding extremes in tempo. This is because in such a tempo you will lose the important details in articulation, phrasing and so on. When you practice this toccata, take a slow and comfortable tempo which would allow you to avoid mistakes. If you make a mistake, go back a few measures and play that episode several times in a row correctly. 4. Practice in fragments, in separate parts and in combinations. For best results, I recommend you practice in shorter fragments of about 4 measures each. Then you will be able to correct your mistakes very quickly. As you start making progress in your playing, you can make the fragments longer. It is also a good idea not to play both hands and feet together right from the beginning. Instead, practice right hand alone, left hand alone, and pedals alone. Then take both hands together, right hand and pedals, and left hand and pedals. Only then master all parts together. 5. Practice on the piano. Since the basis of the Romantic legato organ technique is based on the piano technique, you will improve your keyboard technique by practicing this composition on the piano extensively. If you want, you can play the pedals on the floor while sitting on the higher chair. However, be very careful not to play this piece on the piano using the piano touch with intense dynamics and lifting your fingers high up in the air. Instead, play everything mezzo piano with an even sound and try to keep your fingers in contact with the keys at all times. Playing this way will ensure you will get the most benefit out of the piano practice. Use these tips as you practice the Sonata No. 6 in D Minor, Op. 65 by Mendelssohn on the organ today. If you are precise and consistent in your practice, in time you will learn to play it well. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Do you like playing Prelude and Fugue in B flat Major, BWV 560 on the organ and would like to know what is the best way to practice it? Here are my 7 tips which will take your practice of this piece to the next level.
1) Practice is not performance. Very often people enjoy playing the piece in the way they would perform it during a recital or church service. However, if you truly want to learn to play this prelude and fugue with confidence, you first have to realize that the different approach is needed for practicing on your own. 2) Playing the piece in its entirety is not the best option. For the best results, avoid playing the entire piece from the beginning until the end until you are ready. The thing is that when you play this prelude and fugue, you are likely to make quite a few mistakes. Consequently, if you do not stop and correct your mistakes, you are likely to repeat them again and again. 3) Instead practice in short fragments. Subdivide this piece into manageable units of about 4 measures each. Remember that the piece is quite long and it is best to work on a few measures at a time. This way your chances of making a mistake greatly diminishes. 4) Don't underestimate the power of separate voices and voice combinations. In such polyphonic texture with several highly independent parts it is difficult to listen to each voice equally well. Consequently, you are likely to miss some important details in fingering, pedaling or articulation. Do not play all the voices together unless you have mastered them individually, in pairs and 3-voice combinations. 5) Later make the fragments longer. As your playing of this prelude and fugue becomes better, start expanding the fragments by doubling them in size. It is important that you become accustomed to gradually increasing the length of your practice without stopping. This way you will prepare yourself for public performance in the future. 6) Put the hands and feet together. After you master individual voices and voice combinations, it is time to play all parts together. If you were honest in learning the previous step, you will be surprised how fast and enjoyable is the practice process. 7) Make at least 3 correct repetitions. Try not to advance to the next combination or fragment unless you can play the current one at least 3 times in a row correctly. A master organist Marcel Dupre used a system of 10 repetitions in his teaching. This is an optimum example. However, in order to see the positive results with the shortest amount of repetitions, play without mistakes at least 3 times in a row. If you make a mistake, you will have to start counting from the beginning. Go on and start learning Prelude and Fugue in B flat Major, BWV 560 today by repeatedly practicing short fragments. And don't forget to take advantage of learning separate voices and voice combinations. By doing so you will discover that you are on the right path to the mastery of this wonderful composition. Do you have your favorite techniques which help you practice this piece? Share your experience in the comment section. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Playing the Prelude and Fugue in B flat Major, BWV 560 with convincing registration will result in more authentic performance. Organists who practice this piece should know general rules for choosing which stops to use. With this piece, the registration for public performance should be different than for practicing alone. If you are searching for the best ways to register this prelude and fugue, read the following 9 tips.
1) Registration change in the fugue is not necessary. Although it is often possible to add a reed stop in the two-part cycle, such as this, the length of the piece does not suggest the need for stop changes after the prelude. Since this prelude and fugue last only about 3 minutes, it is better to play with one registration throughout. 2) "Organo Pleno" registration. The traditional way of registering a prelude and fugue in the German Baroque style is to use "Organo Pleno" registration or a principal chorus. This concept means that you should build a pyramid of principal stops, starting with the principal 16' or 8' and building upwards (4', 2 2/3', 2 etc.) 3) Use mixtures both in the manuals and the pedals. Try out the mixture alone on the main manual and see if it is based on the 16' (starts at 5 1/3' level) or 8' (starts at 2 2/3' level or higher). If it is based on the 16', then use 16' stop in the manual together with it. Otherwise, playing with 16' is optional. 4) Add flutes if the mixtures are too harsh. Check your mixtures and see if you like their sound. In some Neobaroque-style organs, the mixtures are really high-pitched and sound harsh. In such case sometimes it is OK to omit the mixture and use higher principals and mutations instead (1 1/3' and 1'). 5) Check if the principals are not too narrow. In many Neobaroque-style instruments, the principals are quite narrow in diameter. In such case, try to add 8' and 4' flutes for more rounded sound. However, under normal circumstances, principals and flutes should not mix in the Organ Pleno registration. 6) Couple the manuals if you want. If you have more than one manual which has a principal chorus as well, you can couple them both. This way your registration will be even more powerful. 7) Add pedal reeds for more spice. Use the powerful 16' and/or 8' reeds in the pedal division, such as Posaune and Trompete. If you decide to use only one reed stop, the first reed you should add is Posaune 16' and not Trompete 8'. This is because in Central Germany in the Baroque period, even relatively small organs very often had Posaune but not Trompete. 8) Check the balance between manuals and pedals. Once you choose the manual and pedal stops, try to listen to the overall sound ensemble. Since it is a polyphonic composition with highly independent parts, both manuals and pedals should be clearly audible but not too loud in comparison with each other. 9) Practice registration. It is best to practice using only the soft stops, such as 8' and 4' flutes with 16' in the pedals. This way your ears will not become tired and you can practice for a longer period of time. Remember these tips when you practice or perform the Prelude and Fugue in B flat Major, BWV 560 in public. It is a good practice to listen to different recordings of this piece on historical organs and to compare the registrations in each. Since every organ is different, try to follow your taste and ears based on your idea of the "ideal Baroque sound" for this composition. This way your playing will become more authentic and you will use your organ more convincingly. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Organ Playing: 7 Tips in Finding the Best Tempo in Prelude and Fugue in B Flat Major, BWV 5606/13/2012 Are you wondering what is the best tempo in Prelude and Fugue in B flat major, BWV 560? Are you struggling with playing this composition up to tempo? Or perhaps you are not sure at which tempo you should practice it? Here are 7 powerful tips in finding the best tempo of this piece. 1) The concert tempo. Since it is a joyful and energetic composition, the concert tempo of this piece could be around 70 beats per minute for the quarter note. 2) Same tempo in the prelude and fugue. When you practice this piece, keep the same tempo both in the prelude and in the fugue. Sometimes it is very tempting to change the speed in the fugue because of the meter change. Note that the quarter note in the prelude should be equal to the quarter note in the fugue. 3) Practice tempo. Practicing tempo should be much slower. For best results it could be very slow - around 40 beats per minute. In general, try to pick such a tempo for practice in which you could avoid making mistakes. If you make a mistake - slow down. 4) Keep in mind the acoustics of the room. The space that you are playing will be one of the major factors in determining the speed of this piece. If you play in your practice room or at home, you can perform much faster than in a cathedral or church with huge reverberation. 5) Keep in mind the mechanics of the organ. The type of organ action also determines the tempo of this piece. In general, if you are performing on the tracker or the mechanical action instrument, try to play a bit slower because of the action. On the other hand, if you are playing on the electro-pneumatic or electronic organ you can play much faster. 6) Play fast in short fragments. If you want to achieve faster tempo in this prelude and fugue, try to practice in the following way. Press an opening note, stop, think about what's coming up next and play in a concert tempo for 1 quarter note. Then hold the note. Prepare for the next beat and play it in a fast tempo. Then stop at the next quarter note and so on. Continue this way until you reach the end of this composition. 7) Increase the length of the fragments. After you have practiced several times while stopping at each beat, increase the length of the fragment by doubling them. Try to stop every half measure (in the prelude), later stop every measure, then continue increasing the length of the fragments until you can play the entire prelude and fugue at a concert tempo without stopping. Use the above 7 tips while practicing this wonderful composition today. You will discover how easy it is to practice it at the right tempo. While practicing this way you can achieve the concert tempo in no time. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Organ Playing: 4 Tips in Choosing the Best Ornaments for Prelude and Fugue in B Flat Major, BWV 5606/11/2012 Ornamentation in the Prelude and Fugue in B flat major, BWV 560 has its own rules and every organist who practice this composition should be aware of them. However it is not uncommon even nowadays despite the wealth of information available to play the ornaments of this piece incorrectly. In this article, I will give you 4 tips in choosing the most stylistically appropriate ornamentation for this piece.
1) All of the trills and mordents notated in this piece stylistically have to be played starting from the upper note. For example, if the trill is written on the G, start it from the A. Likewise if the trill is placed on the A, start it from the B flat (not from B because of the key signature of 2 flats). Your cadential trills could consist of 4 or 6 notes depending on the speed. For example, in the trill on the G, you could play A-G-A-G or A-G-A-G-A-G. Try to hold the first note of the trill a little longer and speed up later. 2) Use fingers 2-3 or 3-4 in the right hand for the trills. These fingers were traditionally used in playing ornaments with the right hand in Bach's time. For some people playing with 2-3 is easier than with 3-4. Try both versions and decide which one is more suitable for your finger technique. 3) Start the ornaments on the beat. Quite often people play the trills and mordents before the beat. In other words, they start the ornament before as un upbeat and finish it on the beat. This is not correct. The Baroque ornament should take some rhythmic value of the note on which it is placed. In order to achieve that be aware of the beat on which the ornament should be played and practice slowly. 4) Look at each cadence and mark additional ornaments. Note that it is stylistically perfectly acceptable to add suitable trills and mordents on important cadences. This is especially noticeable in the fugue. Here you can add an upper mordent at the end of each subject entrance. Sometimes you can experiment with the lower mordents, too. While performing the ornaments, try not to play the notes which are foreign to the current key, such as B flat major or F major. Use these tips as you practice this piece and try to re-create the authentic ornaments. Remember that ornamentation is also a part of performance practice, so if you want your playing to sound like in Bach's time, pay careful attention to the trills and mordents, practice them in a slow tempo first until you master them. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to develop unbeatable sight-reading skills, check out my systematic master course in Organ Sight-Reading. 8 Tips in Choosing the Best Fingering for Organ Prelude and Fugue in B Flat Major, BWV 5606/11/2012 Are you stuck in finding the best and the most efficient fingering for Prelude and Fugue in B Flat Major, BWV 560 for the organ? It is important you find the best fingering solutions because they will save you time practicing and you will learn to play this composition fluently and without mistakes easier. Here are 8 tips which will help you write in fingering for this piece.
1) Write in fingering in technically difficult places. Some organists have a very systematic approach to fingering. Before they practice it, they write in fingerings on every single note. If this seems too much for you, for the best results I recommend you write in fingering in every technically challenging spot of the piece. 2) Consider the fingering for two voices in one hand. Playing with correct fingering one line passages is not as difficult as episodes with double notes in one hand. Therefore, it is especially important to figure out the fingering in places when one hand has to play two voices. 3) Avoid thumbs on sharps and flats. Since it is a Baroque piece, try to avoid placing the thumb on the sharps and flats. However, it will not always be possible to follow this rule since the key is B flat major and the scale starts from the flat. 4) Avoid finger substitution. Substituting one finger for another while holding one key is one of the ways of achieving a perfect legato. However, since this piece is written in the Baroque period articulate legato touch is more appropriate. Therefore, finger substitution is more suited for the performance of Romantic and modern organ music. 5) Avoid finger glissandos. As in finger substitutions, finger glissandos are the trademark for the Romantic and modern organ music and therefore not suited for the performance of this piece. Moreover, glissandos sometimes are the result of accidental fingering choices. 6) Play the same intervals with the same fingers. If you see several intervals of a third in a row, it is stylistically correct to play using the same fingers. This technique creates perfect articulation. 7) Try different solutions. Sometimes there is more than one version of fingering which suits your hands. Feel free to experiment with different fingerings and choose the most efficient. 8) Stick to your fingering. When you have written in your fingering on the score, try to use it in practice. Do not play with accidental fingerings but apply your written in fingerings repeatedly for the best results. Use the above tips and write in your fingering in Prelude and Fugue in B Flat Major, BWV 560 today. By choosing the best and the most efficient fingering you will save time practicing this piece and be able to play it fluently, without interruptions and with confidence. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to develop unbeatable sight-reading skills, check out my systematic master course in Organ Sight-Reading. Before attempting to practice Prelude and Fugue in B flat Major, BWV 560 on the organ, it is important to analyze the structure and form of the piece. This analysis helps to know the piece inside out. In other words, you will have to know how the piece is put together. In this article, I will share with you 7 easy steps in analyzing the form of this composition.
1) Notate all cadences. A cadence is a melodic or harmonic figure which indicates the closing of a musical idea. Note if a cadence ends on the tonic chord (final cadence) or on the chord other than the tonic (half cadence). 2) Find all important modulations. A modulation is a key change with a cadence. Usually the modulations in such a piece will be to closely related keys. In this piece such keys either have the same number of accidentals or differ from the home key by only 1 flat. 3) Find all sequences. A sequence is a harmonic or melodic idea which is repeated in an ascending or descending order. Sequences are perfect tools for travelling from one key to another. In such case, the new accidentals usually appear gradually one by one. 4) Count the number of fugue subjects. This fugue opens with a theme or a subject which is 6 measures long. Go over the entire fugue and mark the numbers of the themes with pencil. 5) Indicate which voice has a subject. Take a pencil and write in S (soprano), A (alto), T (tenor) or B (bass) next to each entrance. 6) Notate tonal areas of each subject entrance. Remember to check for additional accidentals which will be determining factors for different key areas. Similarly to the prelude, in the fugue the modulations will be to closely related keys. 7) Mark scale degree numbers of each subject entrance. Keep in mind the home key of B flat major. Then write the scale degree numbers or chords (T, S, D etc) relative to the tonic key. For example, the subject in B flat major will have 1st scale degree or the Tonic while the answer in the F Major will have 5th scale degree or the Dominant. Apply the above 7 steps in analyzing the form of this piece today. While doing so, you will put yourself in the composer's shoes and will have a much deeper understanding of how the piece is put together and be ready to start practicing it. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to develop unbeatable sight-reading skills, check out my systematic master course in Organ Sight-Reading. Double Pedal Challenge - Announcing My Brand New Practice Score of Benedicamus by Samuel Scheidt4/26/2012 Have you ever tried to play two voices with your feet at the same time? This is a double pedal technique which was used in the music of North German composers, such as in the works of Samuel Scheidt.
Samuel Scheidt (1587-1654) went to study with Jan Pieterszoon Sweelinck in Amsterdam who was called "the Maker of German Organists" because of his many German students. Scheidt became one of his most influential students because of his ambitious collection "Tabulatura Nova". The Tabulatura Nova is written in 3 parts and contains settings of Magnificat, psalms, choral variations, other liturgical compositions, fantasias, ricercars, a toccata, variations on popular dance tunes and songs, canons and two preludes in six parts with double pedal. One of the pieces in six parts is called Modus Pleno Organo Pedaliter Benedicamus (The Mode of Playing the Organ with Pedals Benedicamus). Like other works in this collection, Scheidt notated this composition on separate staves - in this case on six staves with different clefs. The texture of this work is extremely thick, with frequent imitations of the thematic material in various voices. Therefore, the character of this piece is solemn and festive. How would it feel to be able to play the Benedicamus by Scheidt with correct early fingering? In fact, early keyboard fingering of Renaissance and Baroque periods is completely different from the legato style of fingering used in the Romantic music because it helps to achieve the correct articulation naturally. How would it feel to be able to choose the best and the most efficient pedaling? The one which is the most appropriate for this style of writing? This pedaling alone will create an ideal articulation for the pedal parts. How would it feel to be able know how to use the right articulation? Using the precise articulation is incredibly important for playing Baroque pieces. It helps your playing to sound in style. Most importantly, how would it feel to know the exact steps in mastering this fantastic piece? Not knowing how to practice the composition is the single biggest obstacle for many people to achieve success in organ playing. Wouldn't it be great to be able to play two voices in the right hand, two - in the left hand, and two - in the pedal simultaneously? If the task of playing a composition with six parts seems daunting to you, don't worry - with my step-by-step approach the entire learning process becomes super easy and simple. Because I want to see your success in organ playing so much, I am releasing my brand new practice score of Benedicamus by Samuel Schedt which will help you to master this piece in 12 days or less while working only 30 minutes a day. If you are an intermediate level organist, this composition will be perfect for you. Get the practice score of Benedicamus by Scheidt Instead of original 6-stave-notation with many different clefs, I transcribed it to the usual organ notation on 3 staves with treble and bass cleff only. The music reading will be easy and simple for you, so go ahead and get this practice score now - your pedal technique will become a lot better after mastering this work. If you are not sure whether this work is right for you, don't worry, like all my scores, the Benedicamus comes with a 30-days-money-back-guarantee! Get the practice score of Benedicamus by Scheidt To your success in organ playing, Vidas Pinkevicius |
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