A concerto is different from a concerto grosso in that it is written for one soloist, rather than a group of soloists, and orchestra.
One of Handel’s most popular concertos for organ and orchestra is known as “The Cuckoo and the Nightingale”, because the second movement imitates the sounds of these birds.
This work provides a good example of how Handel used previously composed music in his compositions. It contains material from his Concerto Grosso Op. 6, No.9, and from his Trio Sonatas N . 5 and 6. Concerto Grosso in B flat major, Op.3, No.2
A concerto grosso is a musical composition written for a group of soloists (concertino) and orchestra (ripieno). The concertino and the ripieno sometimes play in unison, but more often they play in contrast with each other.
In or about 1720, Handel produced a series of six concertos for string instruments. One of them was the Concerto Grosso in B flat major,
Op.3, No.2. In this piece, the concertino is made up of two oboes and one bassoon, which introduce the melody or theme. Throughout the piece, this melody is passed on to other instruments and transformed into different variations.
While Handel did not invent this style of music, he developed it to a new level of sophistication.
Jan Pieterszoon Sweelinck (1562-1621) was a legendary Dutch Master organist, composer, and pedagogue of the 17th century. He is most renown for not only for his great polyphonic choral writing but also for being a founder of the North German Organ School. He is also frequently called "Maker of German organists" because of his influential teaching activities that helped propel and flourish the renown North German Organ School. His most famous students include Samuel Scheidt, Heinrich Scheidemann, Melchior Schildt, Jacob Praetorius II, and Anders Duben among many others.
Sweelinck's keyboard style was influenced mostly by two major trends: Italian vocal polyphony and English virginal composers. From Italians the composer inherited beautiful linear counterpoint writing with mostly constant number of parts in the composition. From the English virginalists, he took over their virtuosic figurational writing which consisted of frequent passages, runs, arpeggios, flourishes, diminutions and various other types of figuration.
Ballo del Granduca is one of today's favorites pieces by Sweelinck. Its authenticity is doubtful as it might have been composed by Samuel Scheidt. The title of the piece refers to the Balleto (or little dance of joyful character of the Renaissance) of the Great Duke. It is a set of theme on a dance tune and 4 variations, although the opening section is called variation 1. Variation 1 consists of many colourful and joyfully sounding chords with a characteristic long-short-short rhythms. It contains 5 sections each one with a duration of 4 measures and ends with strong closed cadences at the end of each phrase. The cadences are in G major (the tonic key of the piece), C major, A minor, G major, and G major. The first and the fifth phrases are repeated.
The second variation features many passages and runs in the right hand part with eighth or sixteenth notes rhythms while the left hand plays chordal accompaniment in two or three voices. In variation 3, the hands switch: eight note diminutions are transferred to the left hand part and the accompanimental role is given to the right hand part. The 4th variation contains most of the virtuosic sixteenth note passages and diminutions in the right hand part which are so characteristic of Sweelinck's style. The variation cycle ends (variation 5) with eight note motion in the right hand part (in double thirds and sixths). Technically speaking, this is the most challenging variation and therefore a culmination of the entire set of variations.
One of the most popular movements from the cantatas by Johann Sebastian Bach is the famous "Jesu, Joy of Man's Desiring". This work was originally composed as a choral part from the Cantata No. 147 sung at the end of parts I and II of this cantata. Many organists love to play this work for weddings and other joyful occasions. Because of the popularity of this work, there are so many organ versions available which are not necessarily perfect for you. In this article, I will show you how to make an organ arrangement of this composition for organ in 3 voices which will sound very well and will be comfortable to play.
Before we can make an organ arrangement, we have to become familiar with the orchestral instrumentation. If we take a look at the original scoring, we will discover that this work is notated in 9 staves. The harmonized chorale tune is performed by the 4 part SATB choir which in Bach's time might have been sung by the 4 soloists, too. The top soprano voice is also reinforced by the Trumpet in C.
The bass line is performed by at least 5 people: vocal bass, cellist, harpsichordist (or organist), the double bass, and perhaps the bassoonist as well. The vocal bass joins in choral phrases. We can imagine Bach himself playing the harpsichord or the organ and conducting at the same time. He would have been playing the bass line in the left hand and adding chords or another fully worked out solo voice from the basso continuo notation with the right hand. The double bass player would be playing the cello part one octave lower (at 16' pitch level).
The 3 instrumental parts are meant for two violins, viola, and also 2 oboes doubling the violin I part. The viola player would have to play from the alto clef. Note that the meter of the violin I part is 9/8 while other voices are notated in 3/4 meter. This is probably done to avoid triplets in the violin I part.
As you can see, it must have been quite an ensemble of at least 14 people. In order to make an organ version of this piece, we have to decide which parts are most important because naturally we can't play every part on the organ at the same time. Obviously, there are 3 most important lines in this composition - the chorale tune, the violin I part playing orchestral ritornellos, and the cello part giving the harmonic foundation.
By playing these parts on three separate divisions, we could make a very nice and satisfactory organ version in a trio texture. The violin I part could be played using 8' and 4' flute combinations in the right hand. The chorale tune would sound best, if played in the tenor range (one octave lower) in the left hand on the solo registration, perhaps using a soft reed stop, such as an oboe. We can take the cello line in the pedals using 16' and 8' soft stops.
The 3 part version of Jesu, Joy of Man's Desiring will sound very well on the organ and it will not be too difficult to learn. Just make sure you treat this arrangement like a real organ composition, and practice slowly with correct fingering, pedaling, articulation, and phrasing. It is best to practice repeatedly one small fragment at a time.
By Vidas Pinkevicius
By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.
Article Source: EzineArticles
Some organists have electronic organs with one octave pedal board at home which they use for practice. While this idea is very practical, such organists have to face several difficulties with this kind of instrument. In this article, I will discuss what problems arise when an organist has an electronic organ for practice purposes and how these difficulties might be overcome.
One octave pedal board may be the cause of the back pain, if used incorrectly. It might arise from playing with the right foot in the bottom of the pedal board of such organ. This kind of instrument is mean to be played with the left foot most of the time. And of course not that kind of music with the independent pedal part like most of classical polyphonic organ music. Incidentally, the right foot usually is busy operating the swell pedal and pressing the toe studs where available.
Originally, the electronic organs with the short pedal board were intended either for playing classical transcriptions from popular works or the arrangements of tunes from pop music. In both cases, the texture is rather homophonic with the melody in one hand (usually in the right) and chordal accompaniment in another.
The pedal part in such music is mostly the bass voice which only supports the chords and serves as harmonic foundation. Very seldom it is required to play an independent melodic line in the pedal part of such arrangements. Therefore, one can easily use only the pitches of the available one octave to play the harmonic foundation with or without some rhythmical syncopation.
Contrary to such arrangements, in classical organ music the pedal part is very often independent. The organist is required to use the entire compass of the two-octave pedal board, often playing the higher notes up to treble F. Naturally, performance of most of organ music on electronic organs with one octave pedal board is quite challenging.
The solution for this problem is rather simple. The organist could try to extend the short pedal board by attaching a wooden board with similar dimensions as the pedal board. One can go even further and draw the rest of the notes on this wooden board. This way it is possible to pretend and imagine the full pedal board very easily (and avoid dangerous tension in the back).
Some organists try to compensate the short compass of the pedal board by lowering the pedal part in various places of the music score. This is a possible solution to the problem but is rather inconvenient and might cause some frustration. Instead, it is probably better to extend the pedals with a wooden board.
If you will continue playing pedals on your electronic organ, it is best if you avoid playing with the right foot on the extreme left side of the pedal board while practicing. This may mean adjusting the pedaling when necessary. In addition, use the idea of extending your pedals. Otherwise, you could try to get some practice time in churches that have organs with pedals of at least two octaves in compass in your area.
By Vidas Pinkevicius
By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.
Article Source: EzineArticles
