Bøger af Noel Jones

Catholic Organists need short pieces to play during The Mass at the Offertory, Communion and After the Mass. The easy organ pieces in this book for you are taken out of our books in the Catholic Organist's Quarterly Series including pieces of varying levels of difficulty. We know that there is a special need for easy music in easy keys to build confidence in new organists and for organists who are accomplished but pressed for time to practice. It is our pleasure to make these available. Our EASY series now includes: Very Easy Preludes on Hymns for Solo Stops or ChimesEasy Organ Music in Easy Keys for MassA Catholic Book of Hymns Vol. V Simple Organ Edition

Book 3 - Building Stop Registrations Using Voice Palette(TM) Stops This book goes into depth into more than just using more stops, instead right along with the new stops you will be playing we investigate techniques of combining stops as well as developing organ technique. The organ can have just one keyboard, but this is sort of rare. Organs have two or more keyboards and pedalboards so that the organist is able to play more than one instrumental line and sound at a time. The organ is one of the few instruments that makes this possible. While pianists play, bringing out the bass melody, then echoing it in the treble, it's all using the same sound. Pianists must work hard to produce a difference in the tone while playing - an organist just chooses a new stop! Here we play music that echos itself, music in which the organ accompanies itself, and that use two different instruments playing against each other. We also go into choosing tempos, stroking the keys for sparkling playing, using our secret weapon - silence - to accent notes and guides on how to choose stops by analyzing the music. Coupling - playing stops on two keyboards at one from just one keyboard - is used to build up the chorus sound of the organ, sort of like combining two choirs for a special performance. More clues to matching registrations are accompanied by music that makes it easy for you to see and hear how this all works. Pedals remain optional - and much of this music was written for organs without pedals as composers understood that organists in smaller churches also had money to buy music, so quite a bit of organ music appears in print with and without pedals. We dig deeper into what the stops are and how to use them as well as giving you all sorts of ideas for creating your own stop settings. By the end of this book you will understand the Voice Palette(TM) stops that are behind the engraved stop tablets or drawknobs of your organ. They are like having the ingredients for making a pasta dish not just Italian cooking, but also German, French and even for American macaroni and cheese. These organs today have stops representing many nationalities of organ building and with these organs you are able to dip into each style of organ building and experiment with registrations to make the music sound just as you expect it to, very easily. - 25 pieces written for the organ including 3 fugues, three settings of the choral "Jesu, Meine Freude" by Pachelbel, Bach and Böhm and four settings by Walther. - Learning stop families and traditional stop combinations including the "cornet" are a lots easier when you can actually play and hear them. - "Scholarly Music" turns out to be fun to play when you are using the stops it was written for by the composer. Hear Bach how Bach heard it. - New music that will serve you and your church congregation for many years.

Sacred Music Library presents the second book in this series. As we embark upon another calendar year, we find ourselves in the midst of the richest days of the liturgical calendar. We have completed the mystical journey of Advent and shared the joy of Christmas, and we now move quickly through Epiphany to Lent, Holy Week, and Easter. The organ is unique among all instruments in its ability to define different moods in a profoundly affecting way. With joy, awe, mystery, and poignancy, the organ speaks in infinitely contrasting ways, allowing the church to experience more deeply the profound lessons of the liturgical year. With diligence and care, Noel Jones has, once again, put together a compilation of superb organ music which will help you to more effectively support the liturgical journey of your own parish. We start with Epiphany, that supremely mystical feast in which the true nature of Christ is fully manifested. Noel has chosen some wonderful music that will allow you to support the celebration of this solemnity with confidence. For the period of Ordinary Time which follows we have a wide selection of music which should provide you with everything you need for the weeks leading up to Ash Wednesday. The General Instruction of the Roman Missal forbids the use of the organ at mass for anything other than to accompany singing during the season of Lent: "In Lent the playing of the organ and musical instruments is allowed only in order to support the singing. Exceptions, however, are Laetare Sunday (Fourth Sunday of Lent), Solemnities, and Feasts." Therefore, preludes and postlude should not be played at mass during Lent. We have, however, included music for Lent for those parishes which require music for Penance Services and other extra-liturgical activities where subdued music would be appropriate. However, we urge all parish musicians to follow the directive of the General Instruction when it comes to the Mass, and allow silence to mark most effectively the penitential nature of the season. We include a few pieces for Easter at the conclusion of this volume for Easter Day itself. The next issue of the Quarterly will include music for the rest of Eastertide. Neil Weston

The great teacher Shinichi Suzuki revolutionized teaching strings by concentrating on mastering playing technique in an organized and scientific manner in a way that encourages students and parents to enjoy study, rather than suffer through it! Len Collins approach to reading music is a new, refined approach that brings reading music into modern times and makes it faster and easier to learn. In the past music reading students have been forced to struggle with names chosen to describe appearance of the notes instead of what notes actually do. This new approach names notes for what they do, speeding up music learning. Many students give up learning music or struggle with it for years because they find it hard to make the connection between the notes on a page and the music they are making. Stave Breakthrough(TM) quickly and easily solves this problem.

10A version is for Rodgers and other organs that only have MIDI Program Change controls or Program Change and Variation to control MIDI voices from the organ console and save settings to pistons. Visit our web pages at www.playingthechurchorgan.com to register your purchase and get 3 months free access to the Integra-7 Church Organists Users Forum.

Playing daily Masses for centuries, organists in Catholic churches had certain assigned chant melodies to be sung every year. They became so familiar with these melodies, that they would improvise organ pieces featuring the melody in different ways and play these settings for the Mass. Chants were sung unaccompanied most times and the organ played on its own at times. Also, a common practice was playing part of a chant on the organ in place of a verse or verses, in alternation with the choir. These compositions may be used in different ways - as a Prelude to the Mass, as an introduction to the singing of the hymn and, if a hymn is sometimes sung after Mass, as a Postlude to the Mass are the last verse is sung. There are pieces on each of the 295 hymns in A Catholic Book of Hymns, published by Sacred Music Library.

For the entire series of Trillium Organs, including the Trillium Masterpiece organs, music examples throughout guide you All the music is created for use in the church service, giving you an opportunity to display your talents playing the organ and MIDI.

A new addition to The Catholic Choirbook Series A book for building new choirs and improving the skills and repertoire of experienced choirs. This is a new digest created from The Catholic Choirbook series, containing the most sung music from that book as used by Catholic, Anglican and other choirs from around the world. Designed to be affordable and easy to hold, its price is less than the cost of a lunch in many countries Much of the music is very singable for the average choir, some is a bit more challenging to encourage excellence in the singing of your choir. Some of the music may be sung without accompaniment, but all pieces include accompaniments for a simple reason: Many choirs struggle to find enough singers to sing all the parts. Going back in history to the time of Palestrina, who wrote for choirs of many parts, 8 and more, we have learned that when a singer was missing, that part was played on the organ, or by another instrument. For example, music written for a double choir of 8 voices, could be sung by four voices, the second choir part being played on the organ, or by other wind instruments or strings. Our motivation for this publication is simple. Choir directors are amazed, when their choirs sing pieces from this collection, using a substitute instrument or two to strengthen the voices, to have people from their congregation who sang that piece in College, want to join the choir. Also, many of these works may be sung with only sopranos, the organ playing the other parts. You have to sing great music to be a great choir. Adoramus Te Christe Giovanni Pierluigi da Palestrina Adoramus Te Christe Francesco Gasparini Adoramus Te Christe Orlando di Lasso Adoramus Te Christe William Byrd Adoramus Te Christe Theodore Dubois Ave Maria Jacob Arcadelt Ave Regina Coelorum Guillaume Dufay Ave Verum William Byrd Ave Verum Wolfgang Amadeus Mozart Ave Verum Edward Elgar Cantate Domino Giuseppi Pitoni Drop, Drop, Slow Tears Orland Gibbons God So Loved The World John Stainer God So Loved The World John Goss Hide Not Thou Thy Face Richard Farrant If Ye Love Me Thomas Tallis Jesu Dulcis Memoria Tomás Luis de Victoria Jesu! Rex Admirabilis Giovanni Pierluigi da Palestrina Kyrie Eleison William Byrd Locus Iste Anton Bruckner Lord, For Thy Tender Mercy's Sake Richard Farrant Miserere Mei Tomás Luis de Victoria Miserere Mei Antonio Lotti Non Nobis Domine Philip Van Wilder [William Byrd] O Bone Jesu Michelangelo Grancini O Bone Jesu Marc'Antonio Ingegniere O Sacrum Convivium Edward D'Evry O Sacrum Convivium Roberto Remondi Panis Angelicus Fr. Louis Lambillotte Prayer Of King Henry IV Henry G. Ley Sing My Soul, His Wondrous Love John Bacchus Dykes Stabat Mater Giovanni Battista Pergolesi Tantum Ergo Déodat de Sévrác Thou Knowest, Lord Henry Purcell Sacred Music Library Noel Jones, AAGO Augusta, Kentucky, USA April, 2018

After spending many years in abeyance, there are clear signs that the organ is making a welcome return to Roman Catholic liturgical life. Parishes across the country are installing new organs and hiring professional organists, and Diocesan Music Directors are providing training and support for or- ganists in their areas. This development is as it should be. The Constitution on the Sacred Liturgy promulgated by the Second Vatican Council made it quite clear that the organ was the instrument of choice for the liturgy of the Church: Organum tubulatum in Ecclesia latina magno in honore habeatur, tamquam instrumentum musi- cum traditionale, cuius sonus Ecclesiae caeremoniis mirum addere valet splendorem, atque mentes ad Deum ac superna vehementer extollere. "The pipe organ is to be held in high esteem in the Latin Church, for it is the traditional musical instrument, the sound of which can add a wonderful splendor to the Church's ceremonies and powerfully lifts up men's minds to God and higher things". Sacrosanctum Concilium, Chapter VI, Paragraph 120 However, the organ, like any instrument, can be a two-edged sword. While it can lift up the mind "to God and higher things" it is also possible for it to cre- ate a dismal experience where the mind is focused on anything but God. Like every church musician, an organist has a sacred responsibility to ensure that the organ performs its true function so that the faithful are edified and brought to devotion. As a Catholic Church organist myself, I have long lamented the lack of easily accessible collections of organ music composed specically for the Catholic liturgy, or which is particularly suitable for it. A col- league of mine puts it, "when I hear the organ play in church, I want to know that I'm in a Catholic Church." I know what he means. There is an aesthetic that is uniquely Catholic, and this goes beyond the liturgical seasons and the melodies that are appropriate for those seasons. THere is organ music that helps create an aesthetic space for prayer and contempla- tion, allowing the faithful to focus on the presence of Christ in the Sacrament, music which does not draw attention to itself, but which supports the unity of the Body of Christ in the Celebration of the Eucharist: the sum and center of our life. However, this music also has a role to play in defining the seasons of the year, underscoring celebrations, and providing a point of comfort in times of trial. The Verdin Company has a close relationship with the Catholic Church, and with our bells, carillons, and organs, we offer every church a unique collection of resources. However, installing organs is not enough; that's only part of the story. We need to equip those charged with their use. We believe our responsibility goes way beyond the sale and installation of bells or organs. We want to enable those installations to be used in the fullest way possible. Hence the VERDIN CATHOLIC ORGANIST'S QUARTERLY. Noel Jones has worked tirelessly to produce a volume of music, all of which can be played by organists of modest experience (none of it requires pedals), and which is all of excellent quality. The music is laid out in sections for the various seasons of the year, but it goes without saying that most of it (with some obvious exceptions) is suitable for many different times of the year. It should also be noted that these pieces can be played in a variety of ways. I encourage organists to try them fast and slow, loud and quiet, so that they may be used in the liturgy in different ways. The Catholic Organist's Quarterly will be published four times a year: January, April, July, and October. Each one will contain music that is appropriate for that particular period, but much which could be played at any time. Subscribers to the Quarterly will soon build a library of fine organ music that they can call on for years to come. Neil Weston The Verdin Company Cincinnati, OH June 2016

A new way for pianists and keyboard players to learn to play the organ and operate its stops and controls.

This anthology includes all the hymns in our Eucharistic Hymns and Hymns To Mary in addition to a new section of Benediction Hymns. All hymns come with permission to copy as needed for parish use.

26 favorite Spanish hymns, arranged for your organist to play for your choir and congregation plus 26 organ solos on the same hymns to play during Mass as well. This is an excellent source of music for organists playing in parishes where Hispanic-speaking congregants attend English language Masses. La Utilización de este libro Estos 26 acompañamientos han sido arreglados para el órgano y cada uno de ellos tiene dos versiones. La versión en la página izquida es para tocar cuando la gente canta. Puede ser cuando solo se usa el órgano para acompañar el canto o también cuando se acom- paña con guitarras u otros instrumentos. La versión en la página derecha es para tocar como un solo de órgano, sin el canto. Al nal del libro hay un gúia indicando la ubicación del capo que el guitarrista puede usar para acompañar. Alzar la tonalidad puede ayudar a que el canto esté en un registro más cómodo resultando en que la gente cante con más facilidad. Los valores de las notas han sido duplicados resultan- do en una lectura más fácil. Esto no cambia el sonido de la música. En la página derecha hay un arreglo para tocar como solo de órgano y como las muchas piezas de Bach y otros están basados en melodías de canciones. Durante el ofertorio y la comunión, se puede interp- retar estos arreglos usando registros muy suaves para la oración y meditación y otros como !Tú Reinarás! se puede tocar con registros más sonoros después de la Misa o como una introducción jubilosa a un canto. El órgano ha sido parte de la práctica litúrgica Católica por siglos. Más de mil años atrás el Papa Silvestre II constuía órganos hidraúlicos que utilizaban la fuerza del agua para producir los sonidos (llamado Hydraulis), y las primeras instrucciones detalladas sobre la construcción de los órganos están contenidos en los escritos monásticos del siglo XI. Aunque otros instrumentos han tenido su tiempo de moda, la regla de oro para la música de la Iglesia Católica sigue siendo el órgano. El Segundo Concilio Vaticano consagró este hecho en la Constitución sobre la Liturgia Sagrada: TÉNGASE EN GRAN ESTIMA EN LA IGLESIA LATINA EL ÓRGANO DE TU- BOS, COMO INSTRUMENTO MUSICAL TRADICIONAL, CUYO SONIDO PUEDE APORTAR UN ESPLENDOR NOTABLE A LAS CEREMONIAS ECLESIÁSTICAS Y LE- VANTAR PODEROSAMENTE LAS ALMAS HACIA DIOS Y HACIA LAS REALIDADES CELESTIALES (ARTÍCULO 120). El órgano de tubos es, por ende, el instrumento elegido para la liturgía de la Iglesia Católica. Otros instrumentos deben ser evaluados por su idoneidad en la realización del servicio divino. El órgano ya es el instumento más adecuado y la Iglesia lo ha dicho explicitamente. Para muchos, el órgano es la voz de la iglesia y estoes cierto en muchas culturas diferentes. Los países latinos poseen algunos de los órganos más bellos e históricos del mundo. Las iglesias en España y América Latina ha resonado con los sonidos del órgano por siglos. La tradición del órgano hispano es vibrante y apasionada. Los órganos hispanos están entre los más bellos y inspiradores de cualquier parte del mundo. Hoy hay mucha gente que asiste a la Misa a quienes les encanta escuchar el sonido del órgano y lo extrañan. Al cantar, incluyendo muchas de las canciones can- tadas en congregaciones de habla hispana, el órgano puede servir para proveer un sonido más sonoro, sea solo órgano o con otros instrumentos. Sin embargo, la mayoría de los libros de canto en español tienen partes escritas para piano que resultan difícil tocar en el órgano y así no ayudan a apoyar al canto en la forma que se pudiera.

This book explains setting up, testing as well using the added features that are available to owners of the Rodgers PR-300 and PR-300S that have been converted by Frog Music Press to use a USB drive and memory stick in place of the floppy disk drive.

The Great Fifty Days of Easter, swiftly followed by Trinity Sunday and Corpus Christi, provide us with the greatest celebrations of the Church Year, a period when the organ can truly come into its own. Some of the church's best-loved hymnody becomes truly inspirational with well-judged organ accompani- ment. Appropriate selections of instrumental music set the tone and aesthetic for the most joyous days of the Church's life. Finding those appropriate selections can, however, be a challenge. Publishers release new music on a constant basis in a necessary bid to maintain sales, and while there are often gems to be found, there is no doubt that the quality and usability of such a large corpus of music will always be varied. In addition, there is more free music available online than ever before. However, much of it is contained within old editions that can be hard to read, and which are often littered with printing errors. It is precisely because of the problem of finding consistently usable music that this Quarterly has quickly become an invaluable tool for organists throughout the United States, as well as in other countries. Noel Jones has a knack for finding music that is accessible to organists of varied levels of experience, while setting the appropriate tone of quality and solemnity that makes it uniquely suited to the celebration of the Liturgy. Within these pages you will find a wide selection of music that will lift the experience of your parishioners, and which will do so much to create an aesthetic of solemnity and devotion. As always, all the music has been newly engraved to the impeccable standard we have come to expect from Frog Music Press. Everything is clean and clear. I hope you enjoy the many wonderful pieces to be discovered within these pages, and that the music discovered here will do much to inspire you in your ministry as a church musician, as well as helping to inspire the devotion of those in your parish. NEIL WESTON Cincinnati

Selected from The Catholic Hymnal(TM), a study of popular hymns sung in English-speaking churches from 1850 to the present day, these Eucharistic Hymns are useful for singing during Communion as well as at the Offertory of the Mass. 37 popular english language Eucharistic Hymns including the most favorites of all time set to 60 different tunes people have loved and sung at Forty Hours, Benediction and Mass. Full details are at the www.thecatholichymnal.com.

Music examples teach the use of the Rodgers Organ, its stops, combination action and devices. Created to be a supplement to the factory owner's manual, it features simple and clear explanation of the workings of the organ. This book is based upon hours of training session experience for organists coming to the Rodgers Organ with wide backgrounds...some making a transition from the piano to playing the organ, others with advanced training at playing the organ, but wishing to make sure that they use the advanced features of the Rodgers to the fullest.

60 Historic Hymns set to 72 tunes, written to the Blessed Virgin including hymns for May Crowning, the Month of May and Novenas to Mary, rare hymns for the Assumption and Annunciation. Also available as part of an Anthology of The Catholic Hymnal. Ellen Doll Jones.CAGO & Noel Jones, AAGO, Editors.

Grundlegende Informationen zur Registrierung Orgel mit Einstellungen für Roland und Rodgers Kirchenorgeln

Using MIDI Voices with the Integra-7 MIDI Module.

The "touch" of the piano keyboard is missed when moving to play the organ, and this frustrates some pianists who give up too soon.Why? There are other things that make up for this. The organ has many different tone colors, the piano but one.It is rare for organ and chime music to be written without pedals. This can be frustrating as you are dealing with three issues - playing the melody, playing the accompaniment, and playing the pedals.With three things going on at once, it is hard to build up confidence.In this book, calling for left hand and right hand only, you will quickly gain in confidence and begin enjoy choosing and mastering and two contrasting tone colors against each other.Chimes are almost always on the Great - the lower or middle keyboard if there are three. The logic is that the other keyboards are more apt to have stops of sound that will be less powerful and accompany the chimes with a variety of different tone colors.Typically organists play flutes or strings on the Swell, the top keyboard with the left hand and the melody on the Great with the right hand.But there is another stop setting that is useful. Chimes do not ring out very long so you might try when playing adding the Swell to Great coupler so that the melody is heard on the chimes AND the Swell stops you have chosen, filling out the melody.Try other stops as alternates - the Oboe on the Swell and a balanced softer stop on the Great.These pieces are composed to create confidence in playing melodies and to open up the world of different sounds for the pianist to enjoy playing.And, pianists, note that with the expression pedals you can crescendo and decrescendo louder and softer than on a piano!- Noel Jones. AAGO

For a pianist or organist new to playing the organ.This book has been written for the pianist who has never played an organ or an organist unfamiliar with the Roland, Rodgers or Infinity organs, but may be used by an experienced organist as well. Designed to be used for self-teaching but also useful when studying with a teacher.The Playing the Church Organ series is also useful for the experienced organist as it quickly introduces you to using all the stops on the organ, ones named on the stop tablets or drawknobs, and all that are waiting inside for you to call on them to more perfectly match the stops you choose to the music you are playing.This innovative teaching system works backwards - the goal is not to teach you all about playing the organ, it's to get you playing the organ with confidence and sounding professional from the first day you play, even if you have never had an organ lesson and just know how to play piano or a keyboard.Technique: We achieve this by starting you off with preset sounds, just as a teacher does, but here you control them yourself, right from the beginning. All that you need to learn to get started are three things: - Pressing Piston Buttons.When you press a piston button, the organ is ready for you to play. We have picked music for you that only uses the keyboards. This isn't simplified music - there has been a lot of organ music written for organs without pedals - in fact, even during the time of Handel, many organs only had keyboards. You will find the number of the piston to push at the top of the music - then you just begin to play. - Which Keyboard to Play?We mark every piece for you so you know which keyboard you [play.- The Expression Pedal Sets the Volume.You'll be surprised when you find out that the organ is not as difficult as you are able to focus more on playing the notes instead of also making them loud or soft or somewhere in between. - What happens then?"But...do I have to play the pedals?" You will find organ music written without pedals in books 1-4 that is easy to medium difficulty. As you play through the music you will be using 10 preset sound combinations that are enough to play services, including weddings and memorial services. This book also hows you how to use the Bass Coupler to play the pedals for you automatically on some of the music - we do this to get you excited and interested in playing them yourself.- This first book contains 33 pieces of useful music for you to enjoy playing the voices you are learning about. - The first four books in this series are a complete course in music for the organ, as well as exploring the stops of the organ.- Careful attention to encouraging you through lots of interesting music that is playable and that your congregation will appreciate. - These books may be used with or without a teacher.- Book 13 - A Playing Guide to the Roland, Rodgers and Infinity Organs is a good companion guide to this series qof instruments.

Duets arranged to be heard outside as Carillon Music and, within the church or school, heard as performances for Carillon & Organ.The organ part is to be played live, while the carillon may be played live from a keyboard, or automatically using MIDI or Audio Files.

Book 4 - Operation of the Organ Controls Exploring USER and Library Access Stops. Here we study the controls of the organ that affect registrations. We fully examine organ stops and their use. As a reminder there are two large groups of stops on these organs, in addition to the stops whose names appear on the stop tablets or knobs, stops that are immediately available at all times to the organist. Voice Palette(TM) stops are assigned to stop tablets or drawknobs and tend to be from the same family as the stop name engraved on the face. They may be tonally finished by your technician or local person that does tonal finishing for your area. USER stops on the Roland and Rodgers organs and Library Access stops on Infinity Organ are available for you to choose, play and tonally finish as well. When you select them, you will find a menu that gives you the opportunity to make them sound exactly as you wish. And these changes may be saved to pistons. You may then voice it differently for another piece and save that to another piston. Trying stops out could become boring, but we've eliminated that possibility by including music that you will want to play. This book prepares you to play not only church services, but also recitals as we explore these stops with music by Pachelbel, Franck, Dubois and two Bachs. To conclude the book we've included showpieces by two Vierne's, Boëlmann, Lefébure-Wély - all for manuals only with optional pedals. Pachelbel may be known for one piece, but we are beginning to discover that his music may even rival Bach's for variety and depth. As we try a variety of stops we play variations on a theme by Pachelbel. Throughout we offer advice and guidance on playing the organ - choosing tempos, registrations, techniques and more that will make your playing shine. The organs also include some useful orchestral sounds - the Orchestral Oboe is absolutely lovely - and we cover using them as well. Playing the organ State Trumpet with the Orchestral Trumpet at a slightly lower volume level work nicely as well. Theater Organ USER & Library Access Stops Theatre organs are different than church organs, as they are winded at a higher pressure (around 10") than the pressures of church organs. Tremulant works letting a little air escape over and over again. On theatre instruments a lot of air escapes so the pitch drops and the volume drops, giving the organ a "sobbing" sound. These tremulants are built into the USER/Library Access theatre stops. You may enjoy playing these while using our Playing Silent Movies book lessons.

The classic book about using the PR-300 MIDI Voice Module and Rodgers PDI Organs, now re-released.

Created for Catholic Parochial & Home Schools to be used with Saint Scholastica Hymnal Organ Book in establishing young organists and singers in a parish.

Hymns over the centuries can be seen as small works of art, music married to words in such a way that the words are emphasized by the music and made clearer and more meaningful. Most music, both church and secular, written today ignores the words and uses melodies that are chosen to "tug at the heart strings", composers knowing how certain melodic intervals give a sense of longing, sadness and and joy. And hymnbooks get bigger and bigger rather than better and better. They are becoming "big box stores" of music.Many strong hymns of the past that teach and reinforce the faith have sadly been dropped from the pages of hymnbooks in favor of hymns that really aren't hymns - but are freely composed and written popular songs with somewhat religious texts. For a while they were in folk music style and now are in Broadway show style - calculated to once again "tug at the heartstrings".The Catholic Pew Hymnal harks back to older times with some hymns that you know and some that you don't know. And they are old hymns and new hymns, all intended to create the holy marriage of words and music with the music glorifying the words, as it should.Affordable and small, there is room for it in the hymnal rack on your pews next to larger popular hymnals of today.If you have a prayer group, they may be passed out as people arrive, or just placed in those pews that you pray together. A homeschool may sing from these for daily hymns as well as meetings of the larger homeschool gatherings.If you visit parishes as you travel, you could leave one in a pew or hand it to the pastor after Mass as a gift.This book is part of The Sacred Music Library series of Catholic books and music for Catholic musicians.

Questions you have now and questions that might come to you while getting comfortable playing these organs are answered here in plain language. Each of these organs is played like other organs. It also has its own controls and devices that reflect the forward thinking of Rodgers, the first to use a computer in an organ, the first to successfuly combine organ pipes in an electronic, and now digital, organ. Rodgers is the rare company today that has built pipe organs, including the 13th largest pipe organ in the world, and digital organs. The organ display window is a window into a library of organ stops that are ready, like a dictionary or a thesaurus of organ stops, to give you the sound that you need for the piece that you are playing. This book concentrates on working through the organ controls and features not by telling you what they are but by showing you how to use them and what they can do for you. We write these books after meeting with people who are new to the organs and spending time helping them get started. Based on our notes from those sessions, we then build the books. For the first time, we have then invited owners of these organs to review what we've written and this has been extremely helpful when doing the final drafts. Their help has improved this book and we are very grateful. The index to the book lists all that is covered, from using the transposer, selecting stops, using the usual couplers and the unusual - Bass & Melody couplers - as well as working with multiple memory levels and the PREV and NEXT controls which can be assignable. Since this is about playing the organ, you will also find music for the organ to play that helps explain the features. Careful attention is given to the differences between the organs. The current design of these organs which shares the same tonal generation system through all of them makes covering all the organs in teh same books possible. Nothing makes us happier than hearing from organists, especially those new to playing the organ, as they tell us how our books have helped them as musicians in their playing of the organ. - Clear, concise explanations of operation of the controls on the organ and practical advice on their use. - This book covers operation of these organs. The first four books in this series are a complete course in organ registration on the Roland, Rodgers and Infinity Organs, exploring the stops, the Voice Palette stops and the USER & Library Access stops. - Frog Music Press brings with it more than 10 years experience in creating guides to Rodgers Organs as well as more many years experience working in church music in the USA, Germany and Italy.

Frog Music's Playing the Church Organ Parish Edition book now available in Spanish, a partner book to our "26 Acompañamientos Fáciles de Himnos y Preludios para Órgano o Teclado" a collection of favorite Spanish language hymns and preludes on these hymns sung in Catholic churches arranged for the church organist.

13 works by Buxtehude, Bach, Hanff, Fischer and Otey for Concert, Church, and Lessons with Continuo Parts. Clear notation and introduction of ornamentation. Full permission included for copying of all parts: Solo Violin, Viola, or Cello, Keyboard, Continuo for Cello or Bassoon. Buy one book, get everything you need for performance.

Book 1 of Playing the Church Organ(TM) series devoted to the C-200 Organist.The owner's manual that is shipped within tells you what the keyboard will do. Our book shows you how to play music using these features - organ music that you can play in a church service, including hymn.