55 Hymn Harmonizations for Organ

The sucess of the first volume was so successful that it was natural that a second volume should be forthcoming to assist church organists to offer fresh hamrmonizations (free accompaniments) to aid congregational singing - D. Dewitt Wasson.Also available: Free Harmonizations Of Hymn Tunes Volume 1 (HMO145.)Contents:1. Abbey2. Abends3. Aberystwyth4. Adelaide5. Adeste Fideles6. Ahnfelt7. Albano8. All Saints9. All The Way10. Alleluia11. Alles Ist An Gottes Segen12. Alta Trinita Beata13. Amazing Grace14. America15. Angels Story16. Arfon (Minor Mode)17. Arlington18. Arnsberg19. Aurelia20. Austrian Hymn21. Babylons Streams22. Bangor23. Bishopthorpe24. Blairgowrie25. Breslau26. Campian27. Canonbury28. Capetown (Cape Town)29. Christus Der Ist Mein Leben30. Coronation31. Cranham32. Culbach33. Darwall34. Diademata35. Diva Servatrix36. Dominus Regit Me37. Down Ampney38. Duke Street39. Dulce Carmen40. Dundee (Rythmic Version)41. Dundee (Isometric Version)42. Dunfermline (Isometric Version)43. Dunfermline (Rhythmic Version)44. Easter Hymn45. Elbing46. Ellacombe47. Erhalt Uns Herr48. Eventide49. Festal Song50. Fortunatus51. Foundation52. Franconia53. Freuen Wir Uns Alle In Ein54. Gaililee55. Gelobt Sei Gott56. Germany57. God Rest You (Ye) Merry58. Halle59. Hanover60. Heinlein61. Herzliebster Jesu62. Hesperus63. Hollingside64. Holy Faith65. Horsley66. Hyfrydol67. Hymn To Joy68. I Want To Be A Christian69. Ich Halte Treulich Still70. In Babilone71. In Dulci Jubilo72. Innocents73. Italian Hymn74. Jacobs Ladder75. Jesu Meine Freude76. Jubilate77. Kilmarnock78. Kings Weston79. Kirken Den80. Komm O Komm Du Geist Des Lebens81. Lancashire82. Langham83. Lasst Uns Erfreuen84. Lauda Anima85. Laudes Domini86. Le Ping87. Leoni88. Let Us Break Bread89. Liebster Jesu [Wir Sind Hier]90. Lob Sei Dem Allmaechtigen Gott91. Lobe Den Herren [Dem Maechtigen Koenig]92. Lombard Street93. London New94. Lytlington95. Mckee96. Marion97. Martyrdom98. Mendelssohn99. Mercy100. Merton101. Mit Freuden Zart [Zu Dieser Fahrt]102. More Love To Thee103. Morecambe104. Morning Star105. Mozart106. Neander107. Nicaea108. Nicht So Traurig109. Nun Danket [Alle Gott]110. Nun Freut Euch [Lieben Christen Gmein]111. Nun Komm Der Heiden Heiland112. O Filii Et Filiae113. O Store Gud114. Old 100th115. Old 104th116. Old 124th117. Olivet118. Omni Dei119. Open My Eyes120. Ora Labora121. Orientis Partibus122. Park Street123. Pax124. Peek125. Penitentia126. Pentecost127. Perry128. Picardy129. Potsdam130. Quem Pastores131. Rathbun132. Ratisbon133. Redhead No. 76134. Regent Square135. Retreat136. Rex Gloriae (Gloria)137. Rhosymedre138. Royal Oak139. St. Anne140. St. Bavon141. St. Bees142. St. Bride143. St. Christopher144. St. Columba145. St. Cross146. St. Denio147. St. Drostane148. St. Dunstans149. St. Flavian150. St. George151. St. Gertrude152. St. Hilda153. St. Joan154. St. Keverne155. S

Mark Thallander's second collection of harmonization of hymns for congregational singing has proven to be as popular as his first! Titles include: Joyful Joyful We Adore Thee • A Mighty Fortress Is Our God • and fourothers. As a bonus Mark has also included his famous Toccata on Hymn to Joy. A must have for church organists!

Vintersalme-Musik (1980) - Choral prelude for Organ. Orig. title: Vintersalme. Programme note: When in 1975 I had finished composing my 3rd Symphony (begun in 1973) I wrote three simple melodies for two psalm texts by Ole Sarvig “The Year” and “Choral Hymn”. One of these was later included in the Danish Hymnbook under the title “Året – Som året går” (The Year).  These three “Sarvig tunes” were derived from the same material as the second movement of the symphony and could be harmonized together in several different temporelationships at the same time - like fractals. This inspired me to write several choral and instrumental works in the following decade based on these melodies: for instance “Frost Psalm” “Winter Cantata” “Cycles” “Cantica” and this piece for organ all coloured by the Nordic and mythic poem by Sarvig the beginning of which goes:  The passing year will pass its deep  So shall our mind reach winter´s sleep.  And as the tree stands leafles bare   Is winter´s realms: our minds aware.  Per Nørgård 

14 last verse harmonizations add warmth and excitement to traditional congregational singing in this collection by Fred Bock. Includes: All Hail the Power of Jesus' Name * Holy Holy Holy * Come Thou Almighty King * and more. Also includes several organ interludes.

Well known for his majestic work at California's Crystal Cathedral Mark Thallander has compiled a collection of harmonization of hymns for congregational singing. Each arrangement includes an introduction and a modulatoryinterlude – an extremely functional collection for any church organist. Titles include: O for a Thousand Tongues to Sing • Immortal Invisible • Holy Holy Holy Lord God Almighty • and nine others.

Par GRIFFIN MICHAEL. This clear and well organised text is suitable for students of arranging and composition, and for classically trained musicians wishing to further grasp the simple logic of jazz harmony. Essential understandings: - Triad structures and inversions - How to select chords - chord symbols - Simple but effective voicing formulae - The circle of 4th progressions, - Extensions to the 9ths and dominant 13ths, and altered 5ths and 9ths. Included in the 107 pages are comprehensive explanations, examples, exercises and solutions. For school students, the course can be started in year 9 and worked through to year 13. 'This book certainly delivers. Mr. Griffin does a superb job giving clear and concise steps that students should take when approaching the task of harmonizing a melody. The book is laid out in a clean, easy-to-understand format. Mr. Griffin is obviously a gifted teacher, and has developed a book that would be a great resource for any music teacher or student interested in understanding and implementing more complex theory/harmony concepts.' - Natalie Wickham, Music Matters, USA. 'Particularly good for A Level pupils composing in a pop and jazz style. The material gradually increases in difficulty and there are a lot of useful exercises to be completed by students”- Music teacher, UK. 'Excellent resource which will save teachers hours of preparatory work. Useful for a general understanding of options when harmonising in composition. An essential part of KS5 harmony work which goes beyond the common chords and progressions. Very professionally set out.”- ZigZag Education, UK./ Méthode / Tout Instrument

Jordens Vej for SA Choir and Organ by Per Nørgård (1981). Text by Ole Sarvig. Manuscript copy. Programme note When in 1975 I had finished composing my 3rd Symphony (begun in 1973) I wrote three simple melodies for two psalm texts by Ole Sarvig: “The Year” and “Choral Hymn”. These three tunes were derived from the same material as the second movement of the 3rd Symphony and could be harmonized together in several different tempo relationships at the same time - like fractals – which inspired me to write several choral and instrumental works in the following decade based onthese melodies: “Frost Psalm” “Winter Cantata” “Cantica” a.o.  One of these ‘Sarvig melodies’ is now in the Danish Hymnbook nr. 720 under the title 'Året'(The Year).  Jordens vej for choir and organ was the basis of the work Korsalme (1982) for mixed choir and instruments (ad lib.). Per Nørgård

for medium voice and organ. Par HUMMEL BERTOLD. The rushing of the Holy Spirit to which the hymn 'Veni creator' refers is symbolized by fast semiquaver runs of the organ which return again and again during the whole piece. Alternately, the text is interpreted musically in seven verses according to the respective content. Traditional melodies appear in a contemporary harmonic makeup. From this context emerges a field of tension between old and new which eventually dissolves in the 'Amen' of the vocal soloist. The work on the rather demanding piece is rewarding for every performer and the performance at the church is very impressive./ Répertoire / Voix Moyenne et Orgue

Francis Pott’s My song is love unknown sets all of Samuel Crossman’s famous verses but one (commonly omitted when the poem is sung metrically as a hymn). The music begins with offbeat repeated chords prompted—not inappropriately—by the opening to Richard Strauss’s tone poem  Death and transfiguration. In its early stages only trebles and altos are heard. The sequential flow of Crossman’s poem is soon disrupted with particular dramatic ends in mind. After a seemingly anxious harmonic distortion of the opening chords the word ‘crucify’ arises initially as a mere mutter from the lowervoices so timed as to afford assonance with other words in the upper parts and thus remain barely discernible as if only imagined. In due course however cries of ‘Hosanna’ find themselves on a collision course with a rising tide of ‘Crucify’ during which the ‘Hosanna’ faction gradually loses heart and sheep-like defects until a single treble voice—plaintively daring to repeat the ‘offending’ word—is swept aside by a murderous outcry. In due course ‘Crucify’ recurs as a further angry climax before the opening music returns this time expanding into an extended polyphonic final section for double choir and SATB soloists. The principal climax of the work subsides into a form of epilogue crowned sorrowfully by a treble soloist to whom the music in toto has by now presented many challenges. The anthem ends in the key and mood of its opening. The character of its demanding organ part reflects the possibility that it may one day be orchestrated.   My song is love unknown was composed in memory of Michael Renton a craftsman and largely self-taught ‘Renaissance’ man who was not only a member of the Winchester cathedral congregation but also the cathedral’s stonemason. He was beloved of many in the Cathedral community; a true and

for SATB organ and optional strings A gentle melody and lush harmonic backdrop create a stunning musical setting of a text by eminent American hymn writer Thomas Troeger. One Gift sheds new light on the gifts that the Magi bring to the Christ child. The strings add an attractively profound dimension to the work. Score and string parts are available on hire.

Par LACHNER FRANZ. 2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb] Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble [CV 70. 037]; the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Lisztand Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. / Hymnes et chorals / Répertoire / Solistes SS, 2 Altos, 2 Violoncelles, Contrebasse

Par LACHNER FRANZ. 2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb] Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble [CV 70. 037]; the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Lisztand Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. / Hymnes et chorals / Répertoire / Solistes SS, 2 Altos, 2 Violoncelles, Contrebasse

Par LACHNER FRANZ. 2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb] Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble [CV 70. 037]; the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Lisztand Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. / Hymnes et chorals / Répertoire / Solistes SS, 2 Altos, 2 Violoncelles, Contrebasse

Par LACHNER FRANZ. 2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb] Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble [CV 70. 037]; the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Lisztand Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. / Hymnes et chorals / Répertoire / Solistes SS, 2 Altos, 2 Violoncelles, Contrebasse