Fire and Colour: Modern chorale harmonisation and free improvisation for organ

Rieg, Iris

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Rieg Fire and Colour: Modern chorale harmonisation and free improvisation for organ

In her two-volume organ improvisation method, Iris Rieg presents an immense wealth of creative yet systematic approaches for discovering colourful harmonies on the “queen of instruments.”  She clearly demonstrates how one can experiment and play with intervals, chords, scales, rhythm patterns and much more, in styles ranging from the Renaissance to the modern era.

In the first volume, the author provides an introduction to various harmonic techniques, starting with systematic exercises based on parallel shifting musical structures (intervals, chords).  The harmonisation of scales leads to interesting chord combinations, including those based on thirds and tritones.  Using ostinato models, instructions are given for the conception of a virtuoso toccata.

Significant milestones in the history of organ music form the guiding principle for the second volume.  Here organists becomes acquainted with characteristic improvisation techniques.  Valuable tips for creating stylistic imitations enrich the detailed descriptions of multi-movement forms, such as concerto, mass or suite.  Particular emphasis is based on romantic harmonisation (Max Reger) and French tonal aesthetics (Marcel Dupré).

The two volumes, which are ideal for self-study for students, teachers and professional organists, are aimed at those who want to start improvising in church services, but also offer inspiration to those who already improvise on a daily basis and, for example, want to create an organ symphony based on hymns in a live setting.  The numerous exercises at different levels of difficulty are logically structured yet allow organists to start at any chapter and begin right away.

Above all, the joy of playing always takes centre stage!

About the author:
Iris Rieg is a freelance concert organist, lecturer, author and church musician.  She graduated from the music academies in Stuttgart, Detmold and Paris and now teaches at the University of Cologne and at the music school of the Cologne Cathedral Choir as well as running a busy private teaching practice.

- Edition with text in German and English

- Methodical presentation of large-scale organ music in a broad range of styles

- Uncluttered modern layout with many music examples

BA11240
9790006564132
Baerenreiter Germany

Contents

  1. Volume 1: Foreword
  2. Introduction
  3. I Parallel Chord Shifts and Their Uses
  4. 1. Parallel thirds
  5. 2. Parallel fourths and fifths
  6. 3. Parallel thirds and fifths combined
  7. 4. Parallel fourths and fifths combined
  8. 5. Parallel fifths
  9. 6. Shifts of root-position chords
  10. 7. Sixte ajoutée – added sixth chords
  11. 8. Parallel root-position chords with added sevenths
  12. 9. Parallel first-inversion chords and fauxbourdon
  13. 10. Parallel first-inversion minor chords with minor seconds
  14. 11. Parallel second-inversion major chords
  15. 12. Parallel second-inversion major chords with major seconds
  16. 13. Parallel second-inversion minor chords with major seconds
  17. 14. Parallel second-inversion minor chords with minor thirds
  18. 15. Parallel dominant seventh chords
  19. 16. Parallel second-inversion dominant seventh chords
  20. 17. Parallel third-inversion dominant seventh chords
  21. 18. Parallel dominant seventh chords with fifths
  22. 19. Parallel dominant seventh chords with sixths
  23. 20. Parallel major seventh chords
  24. 21. Parallel minor seventh chords
  25. 22. Dominant seventh chords in sequences of descending fifths with ninths and elevenths
  26. 23. Interlude: The influence of jazz harmonies on hymns
  27. II Scales
  28. 1. Eighteen different scales on D
  29. 2. Chromaticism and note repetition
  30. 3. Modes and chords
  31. III Further Methods of Harmonic Intensification
  32. 1. Changing the middle voices in harmonic progression
  33. 2. Changing the outer voices in harmonic progression
  34. 3. Triads without notes in common
  35. 4. Harmonization with the minor dominant
  36. 5. Third and mediant relationships
  37. 6. Tritone relationships – the qualities of the diabolus in musica
  38. 7. Interlude: The diminished chord and its resolution in hymns
  39. 8. The augmented chord
  40. 9. Whole tone steps
  41. 10. Perpetuum mobile
  42. 11. Chordal timbre – there’s dissonance and dissonance
  43. IV Bitonality
  44. 1. Simultaneous use of major and minor modes
  45. 2. Taking the rules of voice-leading with dissonance into account
  46. 3. Enharmonics and modulation
  47. V Rhythm
  48. 1. Uneven bars
  49. 2. Phrasing four against five
  50. 3. Phrasing fiv e against four
  51. 4. Ostinato, patterns and changes of time signature
  52. VI Techniques for Fantasias and Toccatas
  53. 1. Slow introduction or interlude
  54. 2. Figures in the left hand
  55. 3. Passagework and embellishment
  56. 4. Figures in the right hand
  57. 5. Cantus firmus in the alto part
  58. 6. Study in velocity on the manuals
  59. 7. Passagework in both hands
  60. 8. Swapping functions between hands and cantus firmus in the bass part
  61. 9. Changes in the position and inversion of chords
  62. 10. Study in velocity on the pedals
  63. 11. Sustained and tied notes, final chords
  64. VII Finale
  65. 1. Index of hymns
  66. 2. Recommended music
  67. 3. Recommended books
  68. 4. Afterword
  69. 5. Acknowledgements
  70. 6. List of rights holders
  71. Volume 2: Notes
  72. I Renaissance
  73. 1. Stylistic techniques of the Renaissance
  74. 2. Mode and church key
  75. 3. Cadences II, ornamentation and compositional technique in selected literature
  76. 4. Renaissance or Early Baroque Suite
  77. II The Baroque Concerto
  78. 1. Baroque Concerto 1 st movement: fast
  79. 2. Baroque Concerto 2 nd movement: slow
  80. 3. Baroque Concerto 3 rd movement: fast
  81. III The classical French Baroque Mass
  82. 1. Chorale en taille
  83. 2. Duo
  84. 3. Trio en dialogue
  85. 4. Dialogue sur les Grands Jeux
  86. 5. Fugue
  87. 6. Dialogue sur la Trompette et Cromorne
  88. 7. Tierce en taille
  89. IV The French modern suite based on a hymn
  90. 1. Suite française moderne: 1 st movement
  91. 2. Suite française moderne: 2 nd movement
  92. 3. Suite française moderne: 3 rd movement
  93. 4. Suite française moderne: 4 th movement
  94. V Romantic Harmonization
  95. 1. Romantic chords I
  96. 2. Sequences
  97. 3. Romantic chords II: chromatic divergence of doubled chord tones
  98. 4. Successively more progressive harmonization based on a hymn line
  99. 5. Romantic chords III: repeated notes and chromatic bass lines
  100. 6. Romantic chords IV: suspended notes and chromatically abrupt modulations
  101. 7. Modern Romantics
  102. VI Harmonization according to Max Reger
  103. 1. Reger harmonic I: excerpts from the hymn preludes
  104. 2. Reger harmonic II: The 100 th psalm
  105. 3. Reger harmonic III: ten harmonizations of the same hymn line
  106. VII Contemporary harmonization in French style
  107. 1. Chord combinations, ninth chords, fifth-alterations, tritone-relations
  108. 2. Added sixth chords as accompaniment
  109. 3. Augmented chords or chords of the eleventh as accompaniment
  110. 4. Second-inversion dominant seventh chords as accompaniment
  111. 5. Septnon chords as accompaniment
  112. 6. Second chords as accompaniment
  113. 7. Ninth chords as accompaniment
  114. 8. Seventh chords at the distance of a tritone interval
  115. 9. Minor third relations from minor chords
  116. 10. Minor chords with major sevenths
  117. VIII Hymn variations according to Marcel Dupré
  118. 1. Theme
  119. 2. Execution of the tune in the tenor
  120. 3. Canon in the octave
  121. 4. Chromatic Scherzo I
  122. 5. Dance
  123. 6. Chromatic Scherzo II
  124. 7. Chromatic Scherzo III
  125. 8. Pentatonic Scherzo
  126. 9. Canon in the fourth and fifth I
  127. 10. Canon in the fourth and fifth I I
  128. 11. Canon in the fourth and fifth I II
  129. 12. Two-part canon studies
  130. 13. Canon in the second in Dupré style
  131. 14. Fugato
  132. 15. Toccata
  133. 16. Toccata à la française
  134. IX Gregorian prelude and increasing hymnal fugue
  135. 1. Prelude to Introitus I with modern harmonization
  136. 2. Increasing hymnal fugue as Introitus II or for the Offertory
  137. X Organ symphony
  138. 1. Basic considerations in advance
  139. 2. Module I: short themes and their combination
  140. 3. Module II
  141. 4. Module III: relaxing elements
  142. 5. Module IV: Sound and position
  143. XI Finale
  144. 1. Index of Hymns
  145. 2. Recommended music
  146. 3. Recommended books
  147. 4. Acknowledgements
  148. 5. List of rights holders
  149. 6. Sources of the works cited

Additional Information

21st Century
Organ
English, German

Digital Edition

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