Jesus Was The First To Conquer Death By Thomas R. Schadl

Based on Revelation 1: 5-6, Jesus Was The First To Conquer Death is an anthem that resembles the Victorian choral writings of Sir John Goss (1800-1880) and John Stainer (1840-1901). The first part states that Christ is the ruler of all earthly kings and should be sung at a stately manner, but not too slow. The next part, where the choir sings at a slower pace, is about Christ's love for humanity. The final section is performed at a moderately fast tempo and it is about Christ's eternal glory. The speed for the Amen section could be stretched to bring the anthem to a brilliant conclusion. http://www.sheetmusicplus.com/title/jesus-was-the-first-to-conquer-death-digital-sheet-music/20417186?ac=1&_requestid=3885960   

Peace To All Of You By Thomas R. Schadl

Peace To All Of You, based on 1 Peter 5:14 and 2 Peter 1: 2, is a benediction choral piece that may be sung with or without keyboard accompaniment. Sung in a respectable manner, the work should be perform at moderately slow speed and with feeling.http://www.sheetmusicplus.com/title/peace-to-all-of-you-digital-sheet-music/20417187?ac=1&_requestid=3885188

Fugue In D Major For Organ By Thomas R. Schadl

Written in a style reminiscent to the fugues of J. S. Bach and Palestrina, this work is educational in that it explores how the main theme and the second theme are treated. The devices used include retrograde, inversion, augmented versions, and the alternation between subject and real answer. Fugue in D Major, being a majestic and uplifting in character, is suitable for memorial services, postludes, and for other occasions. In performing the work, the principal chorus would be a good choice of organ registration for the great division and a quieter registration for the swell or choir division. As the piece progresses towards the end, reed stops may be added to bring brilliance to the work.

http://www.sheetmusicplus.com/title/fugue-in-d-major-for-organ-digital-sheet-music/20382252?ac=1

Follk Dance In D By Thomas Schadl

Folk Dance In D is written for two pianos with four hands, and has an eastern European or Middle Eastern character which involves the use of scales not common in the western European musical tradition. The main theme is based on the octatonic scale and its main motive is A G# D E flat treated in forward and retrograde motions. Further, the main theme is treated in an imitative manner. The second theme is somewhat an octatonic scale, but involves the use of motivic inversion in its imitation sections. Second theme's main motive is C B C D Flat D Flat C E Flat D Flat C B C C.

This piece is suitable for concert use and possibly for film use, but has a strong educational use in that it explores different scales and counterpoint in many forms, including retrograde, inversions and many others. Composers such as Bela Bartok and Olivier Messiaen explore octatonic scales and other modes in their compositions, typically in Bartok's Six Volumes of Microcosmos for piano and Messiaen's L'Ascension for organ.

http://www.sheetmusicplus.com/title/folk-dance-in-d-digital-sheet-music/20332220

Fantasia And Variations In E Flat For Organ by Thomas R. Schadl

Fantasia And Variations In E Flat is a large-scale work that would take about eight to ten minutes to perform on organs with two or more manuals. The work combines both technical virtuosity and lyricism, and may be reminiscent to the organ compositions of Max Reger, with some of Messiaen's scales on limited transposition.

The piece starts with a scale that is arranged with tone and halftone alternating each other, known as the octatonic scale; that is the scale is built on eight keys within an octave. There are three themes. The motto theme is scalar in structure and is octatonic in character, giving an oriental sound effect; it appears at bars 3-4, 8-10, 22-24, and in the rhythmically augmented version at bars 148-155. The main theme from the fantasia section is derived from the motto theme; it occurs at bars 16-21 and bars 35-40. The second theme occurs in fugal form in bars 27-32, but appears at the fourth variation and is played against the main theme. The theme and its seven variations span from bars 41-147. The theme is stated in the pedal division from its beginning and at variations one, two, and three. The fourth variation consists of themes one and two, playing a duet; first theme is played with the left hand and later on the pedal; second theme is played with right hand. As we come to variations five and six, the pedal states the first theme. The fifth variation is written in the triple time and is written in quintuple time in the next variation. The final variation is stated for the hands and is hymn-like in quality, building up its intensity and majesty until the motto theme is stated finally in the pedal division.

 The performance of the piece requires a freer approach to rhythms in the fantasy segments within the fantasia; in other words, one can play at pleasure. Sections where themes one and two are stated should be played in strict time.

 When performing the theme and variations, one should pay attention to the lyrical nature of that movement, including the melody stated in the bass at variations five and six. The tempo for the final variation is broad and majestic in character and should be played in an unhurried manner. The coda at bars 147 to 155 should be played slowly and try to listen to the motto theme in augmented note values descend. This surely brings the work to a triumphant close.

 The piece is suitable for concert use and for educational purposes. Anyone who is studying the organ works of Max Reger and works of more contemporary composers may like to explore this work. I hope you shall enjoy it.

http://www.sheetmusicplus.com/title/fantasia-and-variations-in-e-flat-digital-sheet-music/20270564?ac=1&_requestid=2446759