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L'ORGANISTE - Organ music compilation - Annotations and registrations

L'ORGANISTE - Organ music compilation - Annotations and registrations

Nota: person) To know how towritinga-donation, contact micdev[at]gmail.com. by an English speaking person :-) - To know how to make a donation, contact micdev[at]gmail.com. Forgive my English make remaining of the book was edited
A A lot of lot of you contacted me about a music book I was using while taking organwhile taking use today.lessons and still use today. you contacted me about a music book I was using lessons and still organ This little little musiccompilation was created in the mid 70'smy teacher ofhelp of l'Abbteacher of the time, l'Abb Antoine Bouchard; it was used extensively in that time as a teaching This music compilation was created in the mid 70's with the help of with the the time, my Antoine Bouchard; tool and also as a book that time as a teaching tool and also as a book for church organists to renew the repertoire it was used extensively in for church organists to renew the repertoire played during services. played during services.

Nota: (Forgive my English writing - remaining of the book was edited by an English speaking

This book contains a selection of easy organ pieces, with pieces, with playing annotations, (registrations and registrations (registrations for some pieces can be found on separate pages). This book contains a selection of easy organ playing annotations, fingering and registrations fingering Latelyfor had pieces of fun playing these pieces, especially with the St-Maximin organ and the Rabstenjn. For many of us, amateur organist, we often lack easy, nice sounding I some a lot can be found on separate pages). Lately I had a lot of fun playing these pieces, especially with the St-Maximin organ and the Rabstenjn. For many of pieces, some guidance about registering them.us, amateur organist, we often lack easy, nice sounding pieces, playing and registering them. some guidance about playing and
This music compilation was published by a little company in company in the 70's, company that since that time This music compilation was published by a littleQuebec City duringQuebec City during the 70's, company that since that time closed its doors (closed mid-80's). I tried to contact closed its them a whiledoors (closed to find out that it no longer exist since 25 years. longer exist since 25 years. ago only mid-80's). I tried to contact them a while ago only to find out that it no The book was created and published by musicians living in Quebec City, highly involved at that time into the "organ life" of the city. Since that time, many churches closed, organs put to living in Quebec City, the last involved The book was created and published by musiciansrest or sold and disassembled. Inhighly30 years the at that time into the "organ life" of the city. Since that time, many churches closed, organ scene changed a lot and the few wonderful organs remaining are in need of restoration. organs put to rest or sold and disassembled. In the last 30 years the organ scene changed a lot and the few wonderful organs remaining are in need of restoration. In Quebec City, one of the great organ, then St-Jean Baptiste's organ that became "cultural asset" in 1979, is about to be restore; right now of of fund raising activities are taking place. Baptiste's organ that became In Quebec City, one a lotthe great organ, then St-JeanThe organ was last restored in 1976 and the "cultural asset" in 1979, is about to be restore; right now a lot of fund raising activities inaugural concert was given by my teacher of the time and the one who selected the pieces and annotated this music are taking l'Abb Antoine Bouchard. was last restored in 1976 and the inaugural concert was given by my teacher of the time and the one who selected the pieces and annotated book, place. The organ this music book, l'Abb Antoine Bouchard.

So, the book being out of of publication for more than finding that it a and finding that it a wonderful tool for us amateur I had the following idea. out publication for more than 25 years, and 25 years, wonderful tool for us amateur I had So, the book being
the following idea.

I know a lot of you are interested into that book; I could easily send you a pdf copy of it, but instead I decided to try to raise some money for the restoration of the St-Jean I know a lot of you are interested into that book; I could easily send you a pdf copy of it, but instead I decided to try to Baptiste organ (more the restoration of the dollars are needed). This book dollars are needed). This book raise some money for than 1 million St-Jean Baptiste organ (more than 1 million can't be bought anymore (more than 25 years out of print/company closed), but thanks to it and your can't be can anymore restore 25 years out of print/company closed), in a way, and trying to give it a generosity, boughthelp to (more than this wonderful instrument...but thanks to itI'm your generosity, can helpsecond life, a second purpose!
to restore this wonderful instrument... in a way, I'm trying to give it a second life, a second purpose!

So here herethe deal: first you download the book theifbook and ifclick onlikedonate button... giving the donate button... giving whatever you want for it. If you don't like it, destroy the copy you So is is the deal: first you download and you like it, you you the it, you click on whatever you want for it. If you have destroy the copy that you know have some friends this know that would like downloaded. If you don't like it,some friendsyou downloaded. If youthat would likethat youbook, don't send them your PDF file, ask them instead to come to this website to get it and donate this book, don't send them your PDF file, ask them instead to come to this website to get it and donate something. something.
I know I'm well enough known be afraid that this could wouldn't want to tarnish my to make Now, I think thatthat some might in the Hauptwerk community and I be an opportunity for mereputation some money... to keep the money. I think that I'm well enough known in the by keeping the money. What I promise to do is to accumulate the donations for a while (till February) then give a check to Hauptwerk communityof the Hauptwerk donator; at that moment, I will ask to take a picture of me giving the check to the Bishop in the name and I wouldn't want to tarnish my reputation by keeping the money. What I promise to do is to accumulate the donations for a while (till February) the Bishop and will post this picture on the Hauptwerk forum as a proof of the donation. Btw, this Dry/Casavant organ then give a check to the Bishop in the name of the Hauptwerk donator; at that moment, I will ask to take a picture of me giving the check to the Bishop and will post this is (even before restoration), a beautiful sounding organ, la Cavaill-Coll with a great acoustic... might be a very picture on theorgan to sample and your money might help me convince the parish to letthis Dry/Casavant organ is (even before restoration), a beautiful sounding organ, la Cavaill-Coll with a interesting Hauptwerk forum as a proof of the donation. Btw, me sample it... (just a thought :-) ) great acoustic... might be a very interesting organ to sample and your money might help me convince the parish to let me sample it... (just a thought :-) ) If 100 of us give $10.00 (the cost of 2 coffees at Starbuck!), or 50 x $20.00, this is $1000 that will be truly appreciated by the parish. I'm sure that many of you will appreciate this book. For everyone making a donation, I will send you a If 100 translation of the notes and annotations of youcoffees at Starbuck!), or 50me a bit of time this is haven't that will be truly appreciated by the parish. I'm sure that many of you will of us give $10.00 (the cost so 2 can better use the book. (Please give x $20.00, for that, $1000 started this appreciate yet...) book. For everyone making a donation, I will send you a translation of the notes and annotations so you can better use the book. (Please give me a Now, I know that some might be afraid that this could be an opportunity for me to make some money... to keep the money.

bit of

time for that, to do any piracy here...yet...)are you I'm sure! This book can now have a second life, bringing funds for an haven't started and so Not trying
organ in the city where their artisans lived.

Not trying to do any piracy here... and so are you I'm sure! This book can now have a second life, bringing funds for an organ in the city where their artisans lived.
Enjoy, and thanks for your generosity.

Enjoy, and thanks for your generosity.

http://www.golfcap-rouge.qc.ca//mbookl.asp [2010-01-07 17:32:49]

INTRODUCTION
This book contains only pieces specifically written for the organ, hence excluding all transcriptions. It is of course dedicated to organists, particularly those who havent had the opportunity to attend organ classes on a regular basis and for a long period of time, to enable them to study the rich repertoire written for our instrument since the end of the XV century. This anthology offers a variety of pieces from various origins and eras, chosen for the quality of writing, the richness of inspiration, and most of all, for their ability to enrich and renew our liturgical celebrations. This repertoire offers pieces of various levels of difficulty of execution, requiring a range of sizes of instruments. Many can be played effectively on instruments with one keyboard and no pedalboard. This edition is intended as a practical tool and thus has no learning or scientific pretensions. The original text has been carefully transcribed, but has sometimes been adapted to conform to todays conventions of notation. The fingering, phrasing, articulation, tempi and even registration are the choice of the editor. These are only suggestions, but they are based on valid foundations. This edition is build in a practical manner Pieces are classified in 4 categories: Entrance (101-200), Meditation (201-300), Exit (301-400), Verse-Acclamation (401-500). Registration is usually printed at the end of the piece so you can write your own registration at the beginning. The liturgical use is given at the beginning of each piece. If a piece can be used in many situations, this will be indicated in the text at the end. To help you learn the pieces, we have: o indicated the degree of difficulty * = easy, **= relatively easy, *** = difficult, ****=very difficult; o suggested fingering and phrasing/articulation; o used clear system of notation for ornaments and o added some text explaining the style of the piece and how to execute it. The text is laid out so you have to turn a minimum of pages, and where turns are needed, they are at a convenient place in the music. When the use of the pedal isnt mandatory, the ad libitum is clearly shown. We have indicated after pieces for two manuals whether they can be played on a one-keyboard instrument Registration notes, a table giving ornaments in notation and an explanation of the expressive signs used in this book will help you get familiar quickly with these conventions.

REGISTRATION
1. The PLEIN-JEU of a keyboard is composed of the Principal 8' & 4' (or, if these are not available, of the flutes (non-harmonic) of 8' and 4'), together with the Quinte 2 2/3', Doublette 2', Petite Quinte 1 1/3', Fourniture & Cymbale or the rank called PleinJeu (composed of Fourniture and Cymbale). In some instances, we can add the Montre 16' or Bourdon 16'. For example: a. Montre 8', Prestant 4', Doublette 2', Fourniture & Cymbale b. Bourdon/Flte chemine, Prestant 4', Doublette 2' Petite Quinte 1 1/3', Cymbale c. Bourdon 8', Flte 4', Doublette 2', Cymbale N.B. Dont use a flute above a Principal (Principal 8' and Flute 4') or use a mixture containing a third, e.g. Cornet, Sesquialtera 2. The PLEIN-JEU of the organ is composed of the Plein-Jeu of the Great, coupled to that of the Positif (and sometimes with the Rcit). For the Pedal, several reeds may be added, especially if no mixtures are available. 3. It is also possible to create less complete Plein Jeu a. b. c. d. e. f. Bourdon 8'/Flte chemine 8', Prestant 4', Doublette 2', Petite Quinte 1 1/3' Bourdon 8', Flte 4', Doublette 2' Bourdon 8' Doublette 2', Petite Quinte 1 1/3' Bourdon 8', Flte 4', Petite Quinte 1 1/3' Bourdons 8', Quinte 2 2/3', Doublette 2' Bourdon 8, Prestant or Flte 4', Cymbale

4. If the pedal division it is not strong enough, use a coupler to increase its power. The Positif to Pedal coupler is best if both hands are on the Great. 5. The CORNET or JEU DE TIERCE uses at least the Bourdon 8' or Flte--chemine 8', Nasard 2 2/3' and Tierce 1 3/5'. A 4' rank (Prestant or Flte) and a 2' rank (Quarte de Nasard ou Doublette) is normally added. If the rank is called CORNET II, or SESQUIALTERA II, this indicates that it is composed of the Nasard and Tierce. You must then add the Bourdon 8' or Flte-chemine 8'. If it is called CORNET V, you don't need to add anything. The decision to use a complete Cornet or Jeu de Tierce, with or without the 4' and 2' ranks, is based on the spirit of the piece played and the character of the organ used. 6. The GRAND-JEU is a registration specific to French Classical music. On the Great, we use the Trompette 8', Clairon 4', Prestant 4' and Cornet. On the Positif, we use the Cromorne (or if not available, Clarinette or Hautbois) and add the Prestant 4' or Flte 4' (This registration on the Positif is call PETIT-JEU). Note that with this registration we don't use Fourniture, PleinJeu or Cymbale . The Montre (unless very fluty and soft) is not to be used either. 7. The FOND D'ORGUE is composed of the Principals and Flutes, 16', 8' et 4'. To get a mellow sound, avoid using a wide scale rank above a narrow one, for example: Principal 8' & Flte 4' or Dulciane 8' and Flte 4'. BUT that doesnt mean that we can't mix Montre 8' and Prestant 4' together with Flute 8' and Flute 4'. The 16' is only effective if the mix is light and clear.

THE INTERPRETIVE SIGNS

In addition to the regular interpretive sign, this book uses other signs. A vertical line identifies a break; the way the line splits the staff indicates exactly which notes must breathe. Also, the closer the line to the note, the sorter the break. A horizontal bar over/under a note indicates that the note must be played a bit shorter than its written value; in other words, you are playing non-legato. The pause (dot with half circle over it) indicates that the note or silence must be slightly longer than its written value A curve joining 2-3-4 notes is an articulation mark, indicating that the first note of the group is slightly emphasized while the last note of the group is not attached to the next one. The expression "dp.", written under a cadence, can be seen as the physical movement used when we are putting an object on a table carefully, rather than throwing it. The notes of the cadence should be played with this image in mind. and indicate the beginning and ending of the use of the pedal (optional). It is never compulsory and it is up to the The "hooks" musician to decide if he/she should use the pedals. If you play the pedal, you still need to play the bass part on the manual, unless the manual is coupled to the pedals. The fingering is intentionally incomplete and might not work for all hands. However, it was carefully selected to take into account the articulation and style of the piece. The suggested fingering for an ornamented note, for example a trill, is for the first note of the ornament. The dotted lines help you see clearly what is to be played by each hand.

ORNAMENTS
An ornament is a note or group of notes that is played before or after the printed note related to it. Some ornaments are written using the usual notation, but others, used during the XVII and XVIII century, were written using various notations. In this book, in the interest of clarity, we have used only a few of them: A) Ornaments beginning at the time of the main note shake or trill starting with the upper note or trill for the whole crotchet (quarter-note) trill for half the crotchet (i.e., for a quaver /eighth note) trill at a cadence, starting with the upper note, with ending

N.B. 1- The first note of the ornament is slightly emphasized, longer 2- The number of trill-notes is variable and based on the length of the ornamented note. 3- At an important but not final cadence, the ending is slowed down a bit; on a final cadence, it is greatly slowed.

Shake / trill, starting from the note itself trill for the whole crotchet (quarter-note) trill for half the crotchet (i.e., for a quaver /eighth note) trill at a cadence, starting with the upper note, with ending

N.B. 1- The first note of the ornament is slightly emphasized, longer 2- The number of trill-notes is variable and based on the length of the ornamented note. 3- At an important but not final cadence, the ending is slowed down a bit; on a final cadence, it is greatly slowed.

Trill with ascending beginning

Trill with descending beginning Mordent (lower) Slide

Slide on a third

B) Ornaments beginning before the actual note All the ornaments written with small notes. C) The Turn (or Gruppetto), if over the note starts at the time of the written note, otherwise it begins between the 2 notes

102

Liturgy of the dead

Very seriously

103

Registration and annotations: See p. 118

104

Liturgy of the dead

Calm

105

Registration The soprano is to be played on a solo stop with a soft accompaniment R.H: Cornet or if not available, a reed stop L.H: Flte 8' or Fltes 8' & 4', or Mlodie 8' PED: Fltes 16' et 8'

In the 9th measure, the "appoggiatura" tenor G must be played as a sixteenth note (semiquaver) and begin at the same time as the D in the pedal. Articulations are suggested by the editor. This piece can be used in many places within the celebration

106

Liturgy of the dead

Seriously

107

Registration and annotations: See p. 118

108

Christmas

Happy, rhythmic

109

110

111

Registration 1st and 3rd part Great: Grand-jeu Swell or Choir / Pos: Petit-Jeu Second Part Great: Fltes 8-2 or 8-4-2 or 8-4 Swell or Choir / Pos: Fltes 8-4 with or without tremulant

On a one keyboard organ we can recreate the dialogue by removing one or 2 soft stops for the part intended for the 2nd manual. In this piece, the quarter, half and half dotted notes (crotchets, minims and dotted minims) are "lour", a barely perceptible lilt in which the first of a pair of notes receives slightly more time than the second, which is slightly detached. As for the eighth notes (quavers) in the first and third parts, the first of two quavers is longer than the second (played like a dotted-eighth note (dotted quaver) and and sixteenth note (semiquaver). Another way to arrive at the right effect is to imagine each crotchet beat divided into three, with two shares going to the first quaver and one share to the second.

112

Liturgy of the dead

Solemn and rhythmic

113

Registration Plein jeu with or without reeds. If you decide to use the pedal where indicated, in addition to the coupler you can add the Basson 16' or Trompette 8'. If you are using the Trompette on the manual, you can add the Bombarde 16' to the pedal division.

Articulations are suggested by the editor Because of its majesty and seriousness, this fugue can be used to close or open many celebrations.

114

Wedding liturgy

Not to slow

115

116

Rythmic, bright

117

Registration and annotations: See p. 118

118

ARDEMMENT J'ASPIRE UNE FIN HEUREUSE (Page 102) Registration The soprano solo is soft with an even softer accompaniment a) II: Quintaton 8' I: Bourdon 8' Ped: 16'-8' b) II: Cornet or Hautbois I: Mlodie 8', Fltes 8+4 Ped: Soubasse 16' & Flte 8' On a one-manual organ, we can play this piece by taking care to play: measure (bar) 8, beat 4, tenor B; measure 11, beat 2 tenor C as sixteenth notes on the so we can hear the bass note join the tenor. This Choral can be use during a meditative part of the ceremony, during Lent or during the last Sundays of the liturgical year.

NOTRE PRE AU ROYAUME DES CIEUX (Page 106) Registration a) Plein jeu, with or without reeds b) Montre 8', Prestant 4' c) Flte 8 or Bourdon 8' with Prestant 4' and Doublette 2' To be able to play the required LEGATO, you must follow the fingering carefully. If you wish to play the bass part with the pedal for some measures (11,25,26,27), use the coupler. This choral is about trust can be played in many situations, not only as an Entrance or Exit piece, but also in the middle of the celebration, especially during Advent and Lent.

VOLUNTARY POUR TROMPETTE (Page 114)

Registration I: Trompette & Prestant 4' or Flte 4'. If no trompette is available, Hautbois or Clarinette with Flte 4' Nasard 2 2/3' and Tierce 1 3/5' II: Fltes 8-4-2 or Bourdon 8' & Prestant 4' Ped: Bourdon or Soubasse 16' The first part can also be played on the Plein-Jeu. The ornaments in this piece are suggested by the editor, as are some dotted and double dotted notes This piece can use within joyful celebrations. Each part can be played separately; the first part can be used within the celebration while the last part can be use as an Exit piece.

201

Christmas

Joyfully

202

203

Registrations a) For organ with one keyboard and no pedalboard: Bourdon 8' & Flte 4' or Flte 4' only or Bourdon 8' & Flte 2' & Doublette 2' b) For organ with one keyboard and pedalboard Select one of the registrations proposed in a), and play the lowest part on the pedals (coupled to the manual). c) On a multi-manual organ, solo the soprano on a Cornet or reed stop. The left hand plays the counterpoint on Fltes 8 & 4 or 8 & 2. During the Canon (measures 26-34 and 62-70), add a stop to the pedal. The right hand should play on the same manual as the left hand from the second quarter note (crotchet) measure (bar) 34 to the first note of measure 37 inclusive, and also from the second quarter note of measure 70 to the end.

204

9ime Fugue du premier ton

Festive

Cheerful

205

206

207

Registrations On 2 manuals II: Flte 4' only I: Bourdon 8' & Flte 2 or Doublette 2' Ped: Soubasse 16' or Bourdon 16' & 8' On 1 manual Bourdon 8 & Flte 4' or Bourdon 8', Flte 4' & Doublette 2' or Bourdon 8' and Doublette 2' or incomplete and light Plein-Jeu This piece must be played lightly and NON LEGATO, but should not produce a jumpy effect. Can be use for many purposes during the celebration.

208

Festive

Cheerful

209

Registration On 2 manuals RH: Cornet or reed stop LH: Bourdon 8 & Flte 2 or Stop Flte 16'8'4' or Flte Chemine 8' & Prestant 4' On 1 manual Different combinations of flutes or incomplete Plein-Jeu

210

Liturgy of the dead

Moderate

211

Registration - Fonds You can also solo the soprano using a choral flute 4' on the pedals.

This Choral is an intense song about hope. The musical writing in the accompaniment, mimicking strings, requires a very precise NON LEGATO with the solo perfectly legato.

212

Christmas

213

Allegro - lightly

214

same registration as part 1

215

Registrations On 2 manuals For the first and 3rd part (Largo) I: Bourdon 8' or Flte 8' II: Voix Humaine or Hautbois Ped: Bourdon 8' or 1/Ped For the second part (Allegro) Fltes 8', 2 2/3, 2' or 8'-2' (The original text mentioned "Co 'Flauti') or Plein-Jeu incomplet On 1 manual For the first and 3rd part (Largo) Stopped fltes 8-4 Ped: Bourdon 8' or coupler For the second part (allegro) Fltes 8,4,2 or Petit Plein-Jeu

216

Liturgy of the dead

Gravely

Registration On 2 manuals (as it was intended) II: Soft stops (8' alone or 8'-4') I: Cornet or reed stop On 1 manual (possible) Montre 8' or Fltes 8-4'

301

Chrismas

With excultation

302

303

Registration All the Pleins-Jeux of the organ with Trompette on the Great and Trompette and Bombarde on the pedals. In this piece, make sure that the choral part is well paced and also that the recitative that unites each phrase of the chorale is played with flexibility and determination. The cadential marks, noted by the will help you achieve this.

304

Liturgy of the dead

305

306

307

Registration For the first part (p304) Montre 8' alone or with Prestant 4' or Flte chemin 8' and Prestant 4' Ped: Soubasse 16' et flte 8' For the second part (p305-307) II: Plein-jeu I: Plein-jeu & II/I Ped: Bombarde or Trompette On one manual, 1st part with FONDS, second part with PLEIN-JEU

The first part can be used anywhere within the celebration; the second, played alone or with the prelude is better adapted for the Exit. This piece should not be kept exclusively for the liturgy of the dead.

308

Liturgy of the dead

Gravely

309

Registration On 2 manuals Pleins-jeux of the organ. Play each section twice, alternating between the louder and quieter registrations, or vice-versa. Pedals (with the Soubasse 16 and bourdon 8') are only used with the louder registration. On 1 manual We still can alternate by adding or removing a few stops from the plenum.

This majestic and serious piece can be used upon entrance or exit of the celebration.

310

Festive

Joyful

311

312

With rythm
( II the second time )

Registrations On 2 manuals II: Light Plein-jeu I: Trompette, prestant and Mixture or Trompette and Cornet For the last part (p.312), we can use the II/I coupler. On 1 manual Plein-jeu alone or with a reed.

313

Wedding liturgy

With confidence

Cheerful

314

315

Registrations On 2 manuals Measures 1-8 incl. II: Bourdon 8', Flte 4', Doublette 2' or Flte 2', Cymbale Measures 9 to the end II: Remove Cymbale I: Cornet On one manual Measures 1-8 incl. Plein-Jeu Measures 9 to the end Bourdon 8', Nasard 2 2/3', Doublette 2' or flte 2', Petite quinte or Larigot 1 1/3'

or Flte 2', Petite Quinte or Larigot 1 1/3'

401

Festive

Verse 1 Happy

Verse 2

Verset 3

402

Registrations On 2 manuals 1st verse - Great: Trompette Pos / Choir: Cromorne 2nd verse - Great: + Prestant 4' Pos / Ch: + Flte 4' or 2' 3rd verse - Great: + Mixture Pos / Ch: + a bright stop We repeat each verse by changing keyboard. If the organ only has 1 reed stop, we add the Bourdon 8' for the first verse.

On 1 manual Each verse is played first on the Plein-Jeu and the second time we use light FONDS. This piece must be played NON LEGATO in an exciting, rhythmic style.

Festive

Verset 1
Calm

403

Verse 2

Verse 3

Registrations According to the occasion when these verses are played, we can play them with a soft registration or a louder one. If we play the 3 verses one after the other, we can create a crescendo or diminuendo from one verse to the other, or only change the registration for the second verse. a) Verse 1: Montre 8' Verse 2: Flte 4' Verse 3: Bourdon 8' & Prestant 4' b) Verse 1: Trompette Verse 2: + Prestant 4' Verse 3: + Fourniture

This piece must be played NON LEGATO with the fingers kept close to the keys, taking care that all notes of a chord are struck at exactly the same time.

404

Festive

Joyfully

405

Registration On the manuals, we can use various levels of Plein-Jeu, looking for a clear and light sound. For the pedal, that must remain subtle, use an 8' alone or with a soft 16'. We can also use the pedal coupler if there is no soft pedal rank This piece must be played LEGATO, but with a light touch. Where it is marked , the tempo should be held back so the cadence points can be felt. This toccata is perfect for entrance or exit of festive celebrations. With a lighter registration, it could be used within the celebration.

406

Wedding liturgy

Proudly

407

Registrations On 2 manuals Plein-Jeu on manuals and pedals. The Plein Jeu II can be coupled to I On 1 manual Plein-Jeu

408

Advent

Very seriously

409

Registrations a) Montre 8' b) Montre 8' + Prestant 4' c) Bourdon 8' & Prestant 4' d) Flte 8'-4 & doublette 2' This fugue can be used for entrance or used during a meditative moment during Advent or during a Liturgy of Hope. Can also be used in the liturgy of dead.

Festive

Calm

410

Registrations a) II: Soft Montre I: Cornet Ped: Soubasse 16 & Flte 8' b) II: Bourdon 8' and Flte 4' I: Cromorne Ped: Soubasse 16' and Flte 8' This piece can also be play on a positif organ with pedals

This choral must be played LEGATO. If you elect to play with the "lour" and articulation marks, be careful to make sure that the NON LEGATO is precisely played. While this Choral is for Christmas, it doesn't have this meaning here in Canada. Use it at any time that you need to cover some silent moments during the celebration.

ALPHABETICAL ORDER
Title Composer Pages

LITURGICAL USE
When

For

Difficulty

Pages

ENTRANCE Liturgy of the dead Liturgy of the dead Liturgy of the dead Liturgy of the dead Christmas Wedding liturgy MEDITATIVE

Liturgy of the dead Festive Christmas Christmas Liturgy of the dead Christmas
EXIT

Christmas Liturgy of the dead Festive Liturgy of the dead Liturgy of the dead
VERSE
Festive Festive Festive Wedding liturgy Festive Advent