Jesu, du mein liebstes Leben Chamber Music - Digital Sheet Music

The chorale prelude begins with the chorale (Jesu, du mein liebstes Leben) harmonized in four-parts. I changed the harmonization, so it differs from J.S. Bach’s chorale setting. My harmonization resists modulating to major keys (B flat major and F major) and instead uses chromatic chords for dramatic effect. This harmonic landscape results in an overall darker mood. The middle section and heart of the composition features a gigue-like motive which begins in G minor but gradually transitions into chromaticism. At the height of the chromaticism, there are pedal solos interrupted by loud, accented chords in the manuals. As the chromaticism and dissonance build the music moves away from the G tonal center. The return of “G” is delayed until the final statement of the chorale. At the end, the chorale returns combined with the gigue-like motive. The return is dramatic and flamboyant. The chorale prelude finishes with a dramatic pedal solo followed by a subdued penultimate phrase. The loudest registration of the work is reserved for the final phrase.

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Details

Instrument:
Organ Solo
Ensembles:
Chamber Music
Genres:
Christian 21st Century
Publishers:
Felicity Mazur-Park
Series:
ArrangeMe
Format:
Score
Item types:
Digital
Level:
Intermediate
Usages:
Sacred
Number of Pages:
11

Organ - Level 3 - Digital Download

SKU: A0.1250208

Composed by Felicity Mazur-Park. 21st Century,Chamber,Christian,Classical,Sacred. Score. 11 pages. Felicity Mazur-Park #844541. Published by Felicity Mazur-Park (A0.1250208).

The chorale prelude begins with the chorale (Jesu, du mein liebstes Leben) harmonized in four-parts. I changed the harmonization, so it differs from J.S. Bach’s chorale setting. My harmonization resists modulating to major keys (B flat major and F major) and instead uses chromatic chords for dramatic effect. This harmonic landscape results in an overall darker mood.

The middle section and heart of the composition features a gigue-like motive which begins in G minor but gradually transitions into chromaticism. At the height of the chromaticism, there are pedal solos interrupted by loud, accented chords in the manuals. As the chromaticism and dissonance build the music moves away from the G tonal center. The return of “G” is delayed until the final statement of the chorale.

At the end, the chorale returns combined with the gigue-like motive. The return is dramatic and flamboyant. The chorale prelude finishes with a dramatic pedal solo followed by a subdued penultimate phrase. The loudest registration of the work is reserved for the final phrase.

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