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Communion in E Major for Organ Op. 17

By Steven Monrotus

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Organ - Early Intermediate - Digital Download
Composed by Steven Monrotus. Contemporary Classical, Christian, General Worship, Repertoire, Recital. Score. 4 pages. Published by Steven Monrotus (S0.429397).

Item Number: S0.429397

This work was composed for an organ with 2 manuals and pedals minimum.  It would make for not only effective recital and lesson material but a place could very easily be found for it in the worship service where it would function as a quiet communion song.  It is constructed in ternary (ABA) form with each of its 3 sections equipped with 1st and 2nd endings enclosed by repeat bars.  During a worship service these repeats need not be included in order to better fit a time requirement, but in a recital situation they should be observed as they form part of the structure of the piece.  A peaceful theme is introduced in the top line of the first A section as a flute solo, which is harmonized in 4 parts.  This right hand part may be performed either with or without tremolo, provided the tremolo is adjusted to fluctuate at the proper speed and not too fast.  Here the alto line is absent from the top staff and a baritone (high bass) voice and tenor voice occupy the middle staff.  This section is then repeated.  In the B section another similar, but equally peaceful, theme is introduced in the dominant key by means of a 2-part canon at the octave between the baritone and soprano, which serve as leader and follower, respectively.  Here the alto voice appears, replaces the tenor voice in the harmony, and continues through to the end of the piece.  This section, again, is repeated.  In the final A section the opening theme returns as a 2-part canon at the octave between the outer voices, with the soprano leading and the bass following, again harmonized in 4 voices, which is repeated.  A short coda closes the work with great serenity and very quietly in 5 voices with a final return of the tenor voice.  This is a beautiful work, easy to play and easy to listen to, and very useful for its intended purpose.  Soft, unimitative Viol tone supplemented with a Celeste stop is necessary for the left hand parts in this piece in order to provide the necessary definition in the lower part of the manual compass.  All large scale, tubby sounding flutes, tibias, and diapasons and imitative string stops having a tone with a sharp "edge" should be avoided.  In this work the stretch for the hands is kept at an octave or less.  Registrations suggestions are included with the score.  Length:  57 measures.  Duration:  3:28.  Composers Bio page: .

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