Jazz swing samba rhumba and more all found their way to the organ long ago. Not only do the melodies harmonies and rhythms of these styles enrich the organ’s concert literature they can also be meaningfully incorporated in the liturgy. The series “Jazz Inspirations” for Organ offers a delightful and personal combination of many forms and highly contrasting styles at a moderate level of difficulty. Volume 4 presents a new array of stylistic and thematic focuses: “Funky Praise” and ”Ich lobe dich von ganzer Seelen” (“I praise thee with all my soul”) can be found alongside a “Little Shepherd’sChachacha” and the familiar carol “Kommet ihr Hirten”. It even contains two compositions from the American organ scene. Jazz swing and much more for the organ Authoritative editors and composers Pieces of a moderate level of difficulty Bilingual Foreword (Ger/Eng)

A totally groovy collection of riffs turns grooves and vamps specially compiled for the Organ player by Andrew D. Gordon.This generous selection of grooves will add swing bounce and funky syncopations to your playing with everything from four-bar riffs to more substantial progressions that will squeeze a host of unusual and addictive rhythms from beneath your fingers. All examples are grouped by style covering Blues Funk Gospel Jazz Latin and Reggae sounds. There is guidance to help you choose appropriate voice selections as well as a guide to some of music's funkiest Organ stars.The book is complete with a CD featuring recordings of everyexample to help you really capture the 'feel' of each unique groove.

100 Ultimate Jazz Riffs for Organ authored by Andrew D. Gordon consists of as the title suggests 100 Jazz riffs based on common chord progressions used in jazz such as II-V-I III-VI-II-V etc. There are five separate sections: Jazz-Swing Jazz-Ballad Jazz-Funk Jazz-Waltz and Latin-Jazz. Besides the 100 riffs at the end of the book there is the chord progression for the popular jazz standard “Blue Moon” showing you how to use the various riffs from the 100 riffs to create an improvised solo over the cho

Josef Rheinberger (b. 1839 d. 1901) was a prolific composer in almost every field but he found in the Organ the medium best fitted to his genius and temperament. This seems to be proved by the fact that his reputation as an Organ composer has grown and is now firmly established whereas his position in other branches has declined. His twenty sonatas and his numerous shorter pieces (about a hundred) make up one of the most important contributions to the Organ repertory. It may indeed be claimed that in the maintenance of a high level of quality and interest throughout a long series of works of both large and small scale his position as an Organ composer issecond only to that of Bach. Sonata No. 19:The G minor Sonata is one of a small proportion of the twenty - No. 15 in D is another - concerning whose merits players are divided. It does not meet one half-way. It is the longest of the twenty: some monotony inevitably results from the use of the key of G for all its movements : its difficulties are of the ungrateful type : and the vigour of its first movement is often rough-even harsh. Yet it appears to be among the favourites of those who know it well; the late Dr. G. J. Bennett (a pupil of Rheinberger's and a devotee of the Sonatas) placed it among the best of the later numbers. Sonata No. 20:In spite of some inequalities No. 20 makes a worthy end to a fine series. Rheinberger's failing health at the time of its composition is no doubt responsible for a few moments of indecision especially in the Finale. The invention shows little if any falling off. In all the sonatas there are few better themes of the broad diatonic type than that which opens the first movement ; and the pleasant tunes of the Intermezzo and Pastoral and the swinging subject of the Finale are in the true Rheinberger vein. But the lack of a substantial fugal section is felt: it might well have come as a central portion of the Finale which